Sondheim November magazine 2015

November 2015 • No.78 • ISSN 1470-2401 the magazine

Into the Woods original cast reunion
Bernstein & Wilson at the Proms
Remembering Dean Jones

Three’s company

Celebrating 40 years of
Side by Side by Sondheim
with a new London
production

The www.sondheim.org
Stephen Sondheim
Society

The Stephen Sondheim Society
Annual Garden Party
Windsor, 19 July 2015

Thanks to the Oldcorns
and all of the performers
for a wonderful Sunday afternoon

See p.28 for a full account

Images © David Ovenden

The Stephen Sondheim Society

NOVEMBER 2015 – CONTENTS Editor’s welcome

Enquiries and News ..............................................................................4 Welcome to the latest issue of Sondheim the
submissions Side by Side: What would we do without you? 6 Magazine.
should be sent to Review: Side by Side at 40......................................12
Sondheim 85th Birthday Prom............................14 Apologies for its somewhat tardy arrival, a
The Editor: Wilson conducts Bernstein...................................16 combination of technical issues and especially the
Anyone Can Whistle..................................................17 fact that with many of the team being so closely
David Lardi Steve Ross: Crown Prince of NY Cabaret..........19 involved with the creation of our major Hey, Old
51 Goring Road Everything’s coming up Ross’s............................21 Friends! Gala at the Theatre Royal, Drury Lane, there
Into The Woods OBC reunion................................23 was little time left for anything else. (A full feature
Bounds Green On The Town.............................................................25 and review of this event will appear in the next
London, N11 2BT Garden Party 2015...................................................28 edition.)
Leslie Bricusse: “I introduced
Membership Inside this issue you’ll find an extended history
enquiries should Sondheim to The Beatles”................................30 of Side by Side by Sondheim along with its ever-
be addressed to American Perspective.............................................31 evolving song-list plus a review of the Brockley Jack
Remembering Dean Jones...................................34 production. Other reviews include ones of the
the Society’s God, That’s Difficult – the winner.......................35 infrequently seen Anyone Can Whistle in a student
Administrator: UK Show Listing........................................................37 production from Guildford as well the Sondheim
From the Archive.....................................Back cover Prom at the Cadogan Hall and Bernstein’s at the
Lynne Chapman Royal Albert.
265 Wollaton Vale Every effort has been made to ensure the accuracy of the
information in this magazine. We cannot accept responsibility for There’s a feature on “The Crown Prince of New
Wollaton any errors. Unless otherwise stated, any views or opinions expressed York Cabaret” aka Steve Ross coupled with a
Nottingham in the magazine are those of the authors and not necessarily the review of his new all-Sondheim CD while Craig
views of the Stephen Sondheim Society. Glenday interviews composer Leslie Bricusse and
NG8 2PX discusses his friendship with Sondheim.
Telephone:
0115 928 1613 There’s lots from the States. As well as her
sondheimsociety regular American Perspective Daria Begley brings
@sondheim.org news of a reunion of the original Into the Woods
cast and we also mark the passing of Company’s
Patrons: Stephen Sondheim Doug Gifford, Sarah Jeynes, original Robert, Dean Jones.
Barbara Cook, Maria Friedman, Tristram Kenton, Mike Martin,
Mary Hammond, David Kernan, Mercury Musical Developments, Jeremy Chapman keeps us up-to-date with
Sir Cameron Mackintosh, Johan Persson, Richard Termine, London's ever-expanding cabaret scene and there’s
Millicent Martin, Julia McKenzie, Scott Rylander, Dan Wooller a report on yet another highly successful Garden
Stuart Pedlar, Bernadette Peters, Party which enjoyed not only good weather but
Jenna Russell Every effort is made to trace the also our best-ever attendance.
Contributors: Daria Begley, original source of copyright
Jeremy Chapman, Craig Glenday, photographs. We apologise for any We also have the result of our “God, That’s
David Lardi, David Oldcorn errors or omissions and would be Good” competition. There were numerous “official”
Photographs: BBC, Chris happy to acknowledge corrections entries but member Dominic Barradell also
Christodoulou, Mark Dean/GSA, in future editions of the magazine. ingeniously took the occasion to utilise these same
words in order to create a set of three linked mini-
THE STEPHEN SONDHEIM SOCIETY playlets. Enjoy!

Registered charity No. 1142092 This magazine is not only for members but, in
the main, written by members and we'd certainly
TRUSTEES EDITORIAL COMMITTEE welcome contributions from more of you. We’re
very aware that much of what is happening in the
Chairman: Craig Glenday Editor: David Lardi way of Sondheim is London-centric so we’re
[email protected] particularly keen for material that reflects on what’s
Technical Editor: Craig Glenday, going on elsewhere. This might take the form of
Treasurer: David Oldcorn articles and features on such centres of Sondheim
Editorial team: Quay Chu, Nina excellence as Leicester and Manchester as well as
Peter Auker, Quay Chu, David Lardi, Douglas, Jeremy Chapman, Mark reviews of regional professional productions. All
David Ovenden Smith, Daria Begley (US things will be considered. Let’s broaden both our
Correspondent) horizons and our writer base.
ADMINISTRATOR
Lynne Chapman Generally we’d welcome not just a greater input
[email protected] from members for the magazine but would also
invite you all to consider whether you could have a
more hands-on involvement with the society as a
whole. Basically - Your Society Needs You! If
interested please contact Lynne.

David Lardi

www.sondheim.org 3

News
Johan Persson
Tristram Kenton

SAVE THE DATE A German playing Sweeney Society friend and Sondheim Imelda Staunton’s off-the-scale
10 January 2015 in English – how about that! As aficionado Ray Rackham, co- Mama Rose has been preserved
Into The Woods, “Tod” in German means Death director of the London for posterity. BBC cameras were
Manchester Royal (and there’s plenty of that in the Theatre Workshop in London's at London’s Savoy Theatre in
Exchange Theatre, Demon Barber) maybe it’s not New King’s Road – where our early October to film Gypsy.
so strange after all. parody show GOD! was staged The broadcast date is yet to be
Manchester last year – has written a play finalised but possibly sometime
The recent lead in the Welsh with music about showbiz over the Christmas period and
18 Mar 2016 National Opera’s touring legend Judy Garland. there’s also a possibility that it
Passion, Théâtre production of the Sondheim epic will be issued on DVD.
du Châtelet, Paris was David Arnsperger, an opera- Called Through the Mill
trained baritone best known and featuring standards from Negotiations for permission
15 May 2016 in his homeland for his work the Garland catalogue and to shoot were complex, with
Stephen Sondheim in Lloyd Webber musicals, performed by a cast of 12, Sondheim and the estates
including the title role in the show will play at the of writer Arthur Laurents
Society Student Phantom of the Opera, Che Workshop for three weeks and composer Jule Stein all
Performer of the Guevara in Evita and Joe Gillis from 1 to 19 December. required to give their consent.
Year competition/ in Sunset Boulevard.
Stiles & Drewe Best Meanwhile, an Off- Lara Pulver gave her final
New Song award, Arnsberger led a cast that Broadway home has been performance as Louise on
Central London also featured Scottish soprano found for Ray’s first musical 10 October, passing the role
Janis Kelly as Mrs Lovett, Jamie Apartment 40C, written in on to Gemma Sutton who was
venue TBC Moscato, widely praised for collaboration with his co- playing her younger sister June.
Dogfight last year, as Anthony, artistic director Tom Lees and
Stop Press: and opera singer Charlotte Page performed to critical acclaim Two more of its cast will have
It was announced – wife of Alistair McGowan – as at the LTW and later at the to be off early, before the
on 18 October that the Beggar Woman. Following a St James Studio in Victoria. advertised 28 November closure.
Gypsy and Imelda lead set by Denis Quilley, Steven He’s sworn to secrecy about The day before that, Singin' in the
Page, Opera North’s Sweeney the venue but says it's good Rain reopens at the Châtelet in
Staunton had from a number of years ago, to go in early March. Paris with Dan Burton as Don
scooped the top took on the role of Judge Turpin. Lockwood and Clare Halse as
prizes in the UK Sharing the conducting duties and the era of Margaret Thatcher Kathy Selden reprising their
Theatre awards for were James Holmes and James and union strife – to emphasise leading roles in this production
“Best Musical” Southall. the show’s message that it’s not which was first seen there in
just Sweeney who is insane; March. In fact, the cast for all the
and “Best This was the fourth outing through society’s corruption main parts are the same for this,
Performance” for this production. Directed by and inequality, everybody is. the Châtelet's Christmas/New
respectively. James Brining, it was originally Year show, which runs until
presented in Dundee in 2010, Having opened at the Wales 15 January.
later being seen in 2013 at West Millennium Centre in Cardiff
Yorkshire Playhouse in Leeds on 8 October, it toured to Bristol, Burton, part of Mama
before transferring to Llandudno, Birmingham, Oxford, Rose’s troupe as Tulsa, has
Manchester’s Royal Exchange Southampton and Liverpool been stopping the show at the
Theatre in a radical re-working before returning to Cardiff Savoy with his song-and-dance
for this theatre in the round. and closing on 29 November. solo on “All I Need is the Girl”,
while Halse has been doubling
Brining’s production updates up as Marjorie May and a
the action the 1970-80s – the Toreadorable.
time when Sondheim wrote it

4

The Stephen Sondheim Society

impact in the movie world. Mercury Musical Developments
Following Kingsman: The Secret
Sondheim is always going to be While we wouldn’t want to take Service and Testament Of Youth, Kate Marlais (left)
on the agenda when conductor any of the credit, it has been very the versatile Welsh speaker and SSSSPOTY
and SSS supporter Alex Parker, pleasing to see that a number of turned up in the violent Legend, winner Alex Young
a huge fan, puts a show together recent SSSSPOTY winners have a new treatment of the Kray receive their S&S
and, sure enough, there were been doing rather nicely for Twins’ unsavoury exploits in Award for “the
numbers from Sunday in the Park themselves in terms of their London gangland in the 1950s most promising
with George, Company, Follies, careers so seemingly our judges and ‘60s. new unproduced
Gypsy and West Side Story in are making the right choices. musical of the
Kings of Broadway, a one-off Taron plays “Mad” Teddy year, as judged by
concert directed by Alastair Corrine Priest, our 2014 Smith, who had homosexual a panel of actors,
Knights at London's Palace winner, has recently finished a relationships with Ronnie Kray producers,
Theatre on 29 November. five weeks run at the Arts Theatre and Labour MP Tom Driberg directors and
and is on the way to making before “disappearing” the day musicians.
The Kings concerned were herself famous (we hope!) Her after an argument with the Krays.
Jerry Herman, Sondheim and chance came when Ushers: Our intrepid
Jule Styne, and in front of a The Front of House Musical did Next up for Egerton, reporter Jeremy
30-piece orchestra was Alistair so well on the Edinburgh Fringe something entirely different… Chapman recently
Brammer, Janie Dee, Zoe Doano, that it was given a decent run as Eddie “The Eagle” Edwards, ventured down to
Fra Fee, Richard Fleeshman, in the West End. the far-from-publicity-shy ski- Southampton in
Nadim Naaman, Jamie Parker, jumper who was the first to order to catch that
Laura Pitt-Pulford, Anne Reid, Corrine played novice represent Great Britain (very leg of WNO’s
Caroline Sheen and Laura usherette and romantic interest badly) in that discipline in the Sweeney Todd
Tebbutt. Lucy in a very amusing and 1988 Winter Olympics. He’s tour. During the
tuneful show featuring six up- acting alongside big stars Hugh interval one local
In other words, much the and-coming talents. It was a pity Jackman (as his fictional coach) journo gingerly
same line-up that supported she had only the one big solo but and Christopher Walken in a film approached him
Parker’s smashing A Little Night she absolutely nailed it – as usual. we’ll be seeing next April. with the immortal
Music concert on the same The show, which was first seen words: “Are you
stage in January but with one with an entirely different cast Also very much in evidence Stephen
intriguing late addition – James at the Charing Cross Theatre around London has been 2010 Sondheim?”
Bolam of The Likely Lads and in early 2014 (but is constantly champion Alex Young. She We’re all well
New Tricks fame. being updated with topical was singing and playing various aware that many
jokes), ran at the Arts until musical instruments in support fans dress up in
This was the first of four mid-October. of Sue Kelvin at The Gatehouse in order to resemble
projects that the newly-formed Highgate Village and at St James their idols but
Alex Parker Theatre Company Yet another sighting is 2013 Studio where Midler and Me was surely, Jeremy,
has in the pipeline and was a winner Turlough Convery, who an affectionate tribute to the this is taking
re-working of a show first seen, can be seen in the massively divine Miss M. dedication beyond
with a different line-up, in praised police mental-health the call of duty!
Guildford last year where it was drama River on BBC every She was again in the line-up
called Jule, Jerry & Steve. (To be Tuesday until 17 November. for The Ladies Who Lunch: News compiled by
reviewed in the next issue.) Turlough (above) plays Frankie, A Celebration of Sondheim Jeremy Chapman,
the brother of a hit-and-run Women when it returned for a Craig Glenday
police victim played by Nicola second visit to The Pheasantry
Walker, and will be featured in Chelsea’s King’s Road. When
regularly in the six-part series seen in July of last year, Alex,
which started on 13 October. always superb in songs that
show off her acting and comedic
Musical theatre seems to have skills, impressed with “The
lost 2011 winner Taron Egerton Miller’s Son” and “Sunday in
who is making an ever-growing the Park with George”.

This time wearing her writer’s
hat, Alex – in collaboration with
Kate Marlais (both pictured
above right) – was one of three
finalists for the S&S unproduced
new writing award, dished out
by Nigel Harman and Janie Dee
at the St James Theatre on
15 November. We’re pleased
to say that their show – Here –
took the first prize!

www.sondheim.org 5

Feature : What would
we do without you?

To coincide with a new production in London, David Lardi
presents a brief history of this most popular of Sondheim
compilation shows.

Side by Side by On 15 April 1975 A Little London had no further Sondheim until 1972,
Sondheim opened Night Music had its British when Company opened at Her Majesty’s. It
premiere at London’s managed 344 performances, with Equity rules
at the Mermaid Adelphi Theatre, where it requiring its (nearly) original American cast to hand
Theatre in London settled down for a year’s over to a British one after six months. This run was
run of 406 performances. slightly better than that of Gypsy the following year,
on 4 May 1976 which lasted a mere 300 performances despite the
and ran for Whilst every presence of Angela Lansbury and of course here
performance is an again Sondheim only provided the lyrics.
59 performances. exciting and new
experience for its It couldn’t really be said that the name of
audience, once the Sondheim had made any deep impression on the
show is up and running, consciousness of the majority of the theatre-going
for the cast it is, in the public. Of his music, only “Send in the Clowns” was
best sense, a job, with in any way generally known.
them having to give
eight identical shows The original London production of Night Music
a week. Other than might be considered what the French call a succès
rehearsing replacement d’estime – well enough received by the press and
cast members and those who attended but without enough popular
understudies and, appeal to warrant an extended run. It played for
perhaps, having the almost exactly a year. Yet three of those involved
occasional session just had been bitten by the Sondheim bug – David
to make sure that the Kernan, who was playing Count Carl-Magnus,
show stays tight, the MD Ray Cook and his assistant Stuart Pedlar.
main work is done and it’s just a question of They began to consider the possibility of an
“let me entertain you”. all-Sondheim revue.
No show runs forever – with the obvious
exception of The Mousetrap – so inevitably during a The final impetus came when David was
run cast members contemplate their futures. Those approached by jazz legend John Dankworth and
not already booked for their next productions his wife singer Cleo Laine. They owned the Stables
might find this period of regular paid employment Theatre – close to their home in Wavendon, near
a good time to devise, plan and even rehearse Milton Keynes – which was in need of restoration.
brand new projects – and so it was with the original Could David arrange a fund-raising revue? Because
London production of A Little Night Music. of artist availability, these performances were to be
At this time, the name of Sondheim was little on Sundays when working actors would be on their
known in England. True, opening in 1958, West Side day off from their regular shows.
Story had enjoyed a healthy first run of over 1,000
performances at Her Majesty’s, but it was Bernstein David in his turn approached producer, director,
and Robbins’ names that were uppermost in writer and humorist Ned Sherrin, who was keen
people’s minds, not a then-unknown young lyricist. to come on board. For format, they decided on a
We had to wait a further five years before we first company of just four – two female and one male
heard Sondheim’s music in the West End when singer, with Ned acting as narrator as well as
Forum came to the Strand Theatre and stayed for director – accompanied by two pianos.
nearly two years, no doubt helped by the drawing
power of Frankie Howerd and the other household Working together on Night Music gave a
names in the cast. convenient opportunity for David, Ray and Stuart to
explore the Sondheim back catalogue including not
only numbers from shows yet to make it to these
shores but also material that had been cut on the
road or songs that had never even made it that far.

6

The Stephen Sondheim Society

Also to be included were rarities from film upright pianos. The use of Programme from
and television as well some of his lyrics for two pianos was a particularly the Mermaid
other composers. Gradually their concept effective idea, as the Theatre’s original
of a Sondheim revue evolved. arrangements, especially production of
created by Pedlar & Cook SBSBS.
But, of course, Sondheim’s own permission gave opportunity for more
would be needed. They wrote to him and he variety, complexity and
replied in the affirmative, albeit in his typically interest than a mere single
self-deprecating way: “By all means try, but I can’t piano reduction would
think of anything more boring except possibly have allowed.
the Book of Kells.” How wrong could he be! (He
subsequently expressed the same reservations The response was
regarding Marry Me a Little.) tremendous, including
standing ovations, so they
For the two female singers, David turned to Julia decided to see if the show
McKenzie and Millicent Martin. Both were actors had legs. Accordingly
who sang rather just singers – and therefore they did a few further
eminently suited to Sondheim – and both at that occasional performances
time were coincidentally appearing in the West End at various theatres,
in different Alan Ayckbourn plays, The Norman including at Brighton,
Conquests and Absurd Person Singular respectively. Bury St Edmunds and
even at Guy’s Hospital in
Both of them divided their time between London, all the time taking the opportunity
straight and musical theatre. Milly’s appearances to tweak it further. Along the way, Tim Higgs
in musicals included South Pacific (where she had replaced Ray Cook as second pianist.
understudied Mary Martin), The Boyfriend (on
Broadway and in London) and Expresso Bongo. It was at this time that Julia McKenzie came up
Julia had appeared in two previous revues – with an alternative and more effective title for the
Cowardy Custard (Noël Coward) and Cole (Porter), show, Side by Side by Sondheim, the first part of
plus as Gloria in Mame. Most pertinently, she had which being borrowed from a number in Company,
been the only British import into the American the Sondheim show in which she herself had
cast of Company when, five months into its recently appeared.
London run, the original April had to withdraw
from the production. Favourable word had begun to spread so
Sherrin searched for a producer to take the show
As well as Carl-Magnus, David had previously into town. Initially he had little success except for
been seen in 1776, Irma La Douce and, like Julia, one young budding impresario and producer who
Cowardy Custard, albeit on its South African tour. was showing some interest. Seats were reserved for
He, Milly and Ned had previously worked together him at a further performance at Wavendon and off
on the satirical television programme That Was he set with clear instructions to exit the motorway
the Week That Was so were already well-known to at junction 13. This he duly did but unfortunately
TV viewers. he took the wrong motorway, the M4 instead of
the M1, and so missed the performance completely!
A number of weeks were spent going through
possible songs until a selection was made and they Undaunted, he decided to take a punt on it
had the basis of what originally was to be called The anyway, sight unseen. The young man’s name –
Sondheim Songbook. Word had spread concerning a certain Cameron Mackintosh!
the project, so not only did the first performance on
Sunday 5 October 1975 sell out completely but also Mackintosh brought the show into the (now
its preceding dress rehearsal. sadly dark) Mermaid Theatre. By the time it opened,
it had evolved into what was nearly its final form.
The performance was given on a small stage The simple staging had Ned positioned at a lectern
with MDs Stuart Pedlar & Ray Cook performing on
stage right with the
singers seated on stools
awaiting their turns.
There was virtually
nothing in the way
of sets or props. As
before Co-Musical
Directors Pedlar
and Higgs provided
accompaniment in the
form of the two pianos
at the rear. Ray Cook was
credited as “Production

www.sondheim.org 7

Programme from Musical Director” but took no part in the which the rest of the cast readily agreed.
SBSBS’s transfer to actual performances. The show opened at the Mermaid on 4 May

the Garrick in By now the show consisted of 33 songs. 1976 and was a sell-out throughout its two month
October 1977. If, today, their choice might seem rather run. Ecstatically received by virtually all the press,
“safe” and familiar with many well-known a transfer was inevitable. Indeed, right from its
Narrator and numbers, that certainly wasn’t the opening night, American producer/director Hal
director Ned perception in 1976. While there were eight Prince was already showing an interest in taking the
Sherrin was Tony songs from Follies, it would still be a further show to Broadway.
nominated – 11 years before that show finally came to
along with the London, so the numbers were entirely new While the Mermaid programme doesn’t include
rest of the cast – to virtually all of the audience. Evening a song list, an original cast recording was made at
in 1977 for the Primrose and Anyone Can Whistle were this time, which obviously reflected the show’s then
show’s Broadway completely unknown in the UK, as were content and running order. Missing from these LPs
are the aforementioned “Conversation Piece”, as
transfer. the numbers from Pacific Overtures, which well “You’ve Gotta Get a Gimmick” and “There is No
had only opened on Broadway a few Other Way” (Pacific Overtures).
BBC months earlier.
Novelties included “The Boy From…” from At the Q&A following the recent society trip to
The Mad Show (music by Mary Rodgers) as well as the new Brockley production, Stuart Pedlar said that
cut numbers “Can That Boy Foxtrot” (Follies) and the omission of “Conversation Piece” was simply
the original, unused, version of “We’re Gonna Be because the record producers thought that the
All Right” from Do I Hear a Waltz? (music by Richard number didn’t work fully without the visual
Rodgers). Some of these numbers were equally element. This was probably also the reason behind
unknown in the States. the omission of the other two songs. He also said
“I Never Do Anything Twice”, from the film The that instead of the studio recording, which he felt
Seven Percent Solution, wasn’t in the show from the was a little bit sterile, it would have been better to
very beginning. Milly relates that “Stephen said to have recorded a number of live shows, including
me, ‘Very little of that song has remained in the with it Sherrin’s narration, and issue an edited
film,’ and he asked me to put it into the show, and version of these to get the atmosphere and feel
I did. I feel like that was a gift from him. I think I of the real thing.
was probably the first person to ever sing it all
the way through.” The show transferred immediately to
Additionally, Pedlar and Caryl Brahms, a friend Wyndham’s Theatre, where it opened on 7 July
1976. Along the way it lost “Too Many Mornings”,
and colleague of Sherrin’s, created “There Won’t be Trumpets” and, within a fortnight
“Conversation Piece”, an of opening, “There is No Other Way”. There was
amusing closing collage also a slight re-arrangement of its running order.
consisting of brief
excerpts from 32 By the end of the year, David had traded in
Sondheim numbers. “Being Alive” for its predecessor in Company,
Even after this passage “Marry Me a Little”. Surprisingly, “You’ve Gotta
of time, it’s impossible Get a Gimmick” was continually mis-titled in the
for many to forget programmes as “You’ve Gotta Have a Gimmick”,
David’s incredibly and “Beautiful Girls” as “Bring on the Girls”.
camp rendition of
“I Feel Pretty” There was quality even in the Standbys. There
immediately followed was one cover for both ladies, the first of which
by the girls’ “A boy being Liz Robertson, who had been with David in
like that could kill ALNM as Mrs Andersson. She was followed by Jill
your brother”! Martin, who eventually took over in the London
Sondheim himself, run after the original cast had gone to the States.
who had come over to
advise on the production, It’s a reflection of the strength of the show itself
quickly became more that it readily survived the loss of its original cast. In
fully involved and, in fact, after its run at Wyndham’s, it transferred down
Kernan’s own words, the road to the Garrick Theatre, eventually clocking
began to “direct the up a grand total of 781 performances making it,
show”, adding that after West Side Story, Sondheim’s most successful
“without a doubt, he’s outing into the West End to date.
the finest director I’ve
ever had”, a Despite the restrictive rules of American Equity,
sentiment with the production – complete with its original British
cast intact (but minus its pianists) – transferred to
Broadway’s Music Box Theatre on 18 April 1977.
This was brought about through the direct
intervention of Hal Prince, who told their
committee that “there was no point in bringing this

8

The Stephen Sondheim Society

show over unless the British were allowed to come that Side by Side has Programme from
(with it) because the show was American material proved extremely SBSBS’s revival at
viewed by another society.” popular with companies The Venue in 2007.
throughout the world.
(Julia McKenzie had to morph into Julie N Despite this, it has only The original
McKenzie, presumably because of a conflict with been occasionally London cast
a similarly named actress who was already a mounted in the West recording of SBSBS
member of Actor's Equity. End, sometimes was recorded on
as “Anniversary” 15–18 May 1976
Prince did have some reservations about the productions. (Dating of and released on
transfer of the show, in particular its content. Would these anniversaries may double LP (RCA
American Broadway audiences accept the gender- refer to 1975 – which saw its world premiere in CBL2-1851).
bending of David assuming female roles? Take, for Wavendon – or 1976, when it opened at the
example, the lyric “Could I bury my rage / With a Mermaid Theatre.)
boy half your age / In the grass? / Bet your ass!” Its 10th Anniversary was celebrated in July
from “Could I Leave You” (Follies); his becoming 1986 by its first West End revival, at the Donmar
an “Andrews Sister” in “You Could Drive a Person Warehouse, as part of David Kernan’s Show People
Crazy”; and his turn as Tessie Tura in “You’ve Gotta ’86 season, where it was staged by Lindsay Dolan
Get a Gimmick”. How would these go down? and Kernan himself. Joining David on stage were
Diane Langton and Angela Richards, and they
David response was simply to request an jettisoned the narrator in favour of a fourth
opportunity to try the show out in its original form singer/dancer, Tim Flavin, who introduced into it a
before they made any changes. They agreed and, tap-dance routine. The cast shared narrating duties.
to quote Kernan, “absolutely none were made Stuart Pedlar returned, now with Jonathan
because it worked like a gem”. Cohen at the second piano, and the production
received favourable reviews. There were a few
Despite being “coals to Newcastle”, the changes to the content: “Gods of the Theatre”
Americans raved. All the performers were replaced “Love is in the Air” while “Everybody Says
nominated for Tony Awards, as was the show itself Don’t” was swapped for a return of “There Won’t Be
for Best Musical. American Equity rules required Trumpets” and “We’re Gonna Be All Right” for “Do I
the British cast to be replaced by an American one, Hear a Waltz?”
initially Bonnie Schon (followed by Georgie Brown), “You Must Meet My Wife” and “A Boy Like That”
Nancy Dussault and Larry Kert with Hermione gave way to “Waiting for the Girls Upstairs” and the
Gingold as Narrator. The latter also acquired return of “Too Many Mornings” while we luxuriated
“I Never Do Anything Twice” for herself. in both “Marry Me a Little” and “Being Alive”, all
numbers still keeping within the remit of no
After ten months, the show transferred to the material later than Pacific Overtures.
nearby Morosco Theatre with further cast changes As can be seen, subsequent productions didn’t
but only lasted there for barely a month. In total, its always feel obliged to stick to the set song list.
Broadway run was a respectable 384 performances, Changes were made sometimes in order to
after which it took to the road. accommodate the whims of individual performers,
although whether these always got publisher’s
As Side by Side pre-dates Sweeney Todd, over the
years there have been numerous requests to up-
date it with numbers from that and subsequent
shows. Sondheim has always refused. The
reasoning has been that if people wanted to use
later material then this should form the basis of an
entirely new revue. (Putting It Together and Moving
On aren’t it.) This is the only Sondheim compilation
show that he has authorised to include numbers of
his with music by other composers.

Given its meagre requirements of cast,
accompaniment, sets and costumes, not to mention
the strength of the show itself, it’s not surprising

www.sondheim.org 9

clearance might be a moot point. As early as

1977, when a touring production opened in

Chicago, “The Two of You” was added for

Burr Tillstrom – creator of the 1950’s popular

children’s television series Kulka, Fran and

Ollie – when he took over as narrator.

Sondheim had written the number for the

original TV series only to have it rejected!

Its first provincial professional

production in the UK was in February 1982 performing “I’m Still Here” as they had six years

at the almost inevitable Manchester Library previously at Wavendon. Most moving of all for

Theatre, where it had 25 performances. Its many, though, was Julia McKenzie’s final revisiting

cast was Rosemary Ashe, Jeanette Ranger of “Losing My Mind”.

and Tony Taff, with Howard Lloyd Lewis as While “Conversation Piece” was not included,

Narrator (who also directed). Paul Kerryson the programme helpfully gave a complete

was the choreographer. breakdown of its content – 32 separate titles from

Poster from Subsequent productions have included two eight shows plus one piece of incidental number
SBSBS’s transfer
to the Music Box nights at the Jermyn Street Theatre, again with from The Girls of Summer. If you want a recording

theatre in New Rosemary Ashe along with Liz Robertson, Clive of “Conversation Piece” you’ll have to seek out
York, which
Carter and Sheridan Morley, followed by one at the the 1977 Original Australian Cast LP.
opened on 18 April
1977 with the Civic Theatre, Chelmsford, in October 1999, again This Gala was quickly followed less than a year

original London with Robertson, this time joined by Louise Gold, later by a less successful production at The Venue
cast.
Robert Meadmore and David Kernan, the latter as (since renamed the Leicester Square Theatre)

narrator. Additionally, it has been seen in London at directed by Hannah Chissick. This was due to have

the Greenwich Theatre (1997), the Landor Theatre a 12-week season from 26 April to 14 July 2007 but

(Nov 2001) and Upstairs at the Gatehouse, Highgate it finished its run early, on 23 June. The singers

(May 2005). were Abbie Osmon, Josie Walker and Alasdair

Side by Side returned to The Stables, Wavendon, Harvey and it “enjoyed” a rotation of four different

on 15 October 2000 to celebrate to the day its 25th narrators – “who’s free this week?” – all with

birthday. While it included the original quartet of decidedly mixed results.

performers with Stuart Pedlar again on piano, these By now, the Song List had been standardised,

singers were mirrored by a younger trio consisting although they continued to mis-name “You’ve

of Kirsty Hoiles, Tracey Wiles and Robert Irons. Gotta Have a Gimmick”. When will they get it right?!

Shades of Follies! with guest spots from artists such Musical Director, as at the Novello, was Michael

as Fenella Fielding, Sally Ann Triplett and Cleo Laine Haslam with Dean Austin as his associate.

herself, the total cast had expanded to 17! Steve Since then, the show has been absent from the

Aubrey’s full account of this can be found in West End so one had to adjourn to The Brockley Jack

Sondheim News No.8 (December 2000). theatre pub in South London to celebrate the show’s

There was a further performance there on 4 May 40th Anniversary with a professional production yet

2001 – 25 years to the day since the Mermaid press again led by Stuart Pedlar (see p.12).

night – this time with Angela Richards, Liz Ned Sherrin used to tell a favourite story about

Robertson and Robert Meadmore, and the young his time with the production in the New York. It

trio again, but Milly and Julie were missing, as were works better in the first person so I’ll try to recreate

Cleo and five others from the October cast. Reviews it as closely as memory will allow.

by David Oldcorn and Bill Bray can be found in “It was a mid-week matinee and the audience

Sondheim News No.11 (June 2001). were as dull and as wet as the weather outside.

The starriest version of all celebrated the They were totally unreceptive, the songs garnering

show’s 30th Anniversary, a one-off gala charity little applause and my supposedly humorous

performance at the then at the recently re-named narrative going down like a lead balloon.

Novello Theatre on 21 May 2006. This re-united the “At the end of the performance, desperate to

original quartet but again, as at Wavendon, as there get out of the theatre, I hurried through the stage

were so many guest artists they now only had eight door, only to slip on the damp steps and fall arse-

of the numbers to sing. over-tit on to the ground below, leaving me on my

The original song list was intact – with “You back looking up at the sky.

Gotta Have a Gimmick” still mis-titled – and “All of this was witnessed by two members of

highlights from the plethora of guests included the audience who had just left the show and whom

Adrian Lester reprising “Being Alive” from the I could most charitably describe as two vicious old

Donmar Company, likewise Judi Dench with theatre queens. One of them turned to his friend

“Send in the Clowns” from the National and and hissed ‘Hmmm! Better than anything she did

prime instigators Cleo Laine and John Dankworth on-stage’!”

10

The Stephen Sondheim Society

Side by Side by Sondheim

Song list – as performed during the original 1976 Wyndham run. (This is now the official default version.)

No Title Show Performers Mermaid Notes
1 “Comedy Tonight”/ Forum MM, JM, DK
“Love is in the Air” Forum (cut) 1/1 Initials refer to Millicent Martin,
2 “If Momma Was Married” Gypsy MM, JM
3 “You Must Meet My Wife” ALNM MM, DK Julia McKenzie and David Kernan
4 “Little Things You Do Together” Company JM, DK
First half 5 “Getting Married Today” Company MM, JM, DK 2/28 Music by Jule Styne
6 “I Remember” Evening Primrose 1/3
7 “Can That Boy Foxtrot” Follies (cut) DK 1/2 Given in the shorter version, i.e.
MM JM 1/4 without the central added section.
8 “Company” Company 1/5
9 “Another Hundred People” Company MM, JM, DK 1/6 In the original run this was replaced
10 “Barcelona” Company JM within the first few months by “Marry
11 “Being Alive” Company 1/8 Me a Little” (Company).
JM, DK 1/9
12 “I Never Do Anything Twice” The 7% Solution DK 1/10
13 “Beautiful Girls” Follies 1/11
MM
14 “Ah, Paris!” Follies DK 1/12 Mistitled in the programme as
15 “Buddy’s Blues” Follies 1/13 “Bring on the Girls”.
16 “Broadway Baby” Follies MM
17 “You Could Drive A Person Crazy” Company DK 1/14
JM 1/15
MM, JM, DK 1/16
1/17

No Title Show Performers Mermaid Notes
18 “Everybody Says Don’t” Whistle MM, JM, DK
19 “Anyone Can Whistle” Whistle 2/18
20 “Send In the Clowns” ALNM DK
21 “We’re Gonna be All Right” Waltz MM 2/20
MM, DK
MM, JM 2/21
MM
MM JM, DK 2/25 Music by Richard Rodgers. This is
the earlier unperformed version.
MM, JM, DK
22 “A Boy Like That” / “I Have a Love” West Side Story MM, JM, DK 2/26 Music by Leonard Bernstein,
sometimes titled “Duet”.
JM
23 “The Boy From…” The Mad Show DK 2/27 Music by Mary Rodgers.
“There is No Other Way” Pacific Overtures MM
Second half MM, JM, DK 2/22 Only survived the first two weeks of
the Wyndham’s transfer before
MM, JM, DK being cut; not considered to be part
of the final version so has not been
allocated a number.

24 “Pretty Lady” Pacific Overtures 2/23
25 “You Gotta Get A Gimmick” Gypsy
2/24 Music by Jule Styne, frequently
26 “Losing My Mind” Follies mistitled as “You Gotta Have a
27 “Could I Leave You?” Follies Gimmick”.
28 “I’m Still Here” Follies
29 “Conversation Piece” 2/29
Company
30 “Side By Side” 2/30

2/31

2/32 Created by Caryl Brahms and Stuart
Pedlar, a witty amalgam of 32 songs
from 8 shows.

2/33

The Mermaid Theatre production also included

“Too Many Mornings” Follies JM, DK 1/7

“There Won’t Be Trumpets” Whistle MM, JM, DK 2/19

www.sondheim.org 11

at 40:Review

Safe and cheery

David Lardi ventures into South London to review ’s

40th Anniversary production at the Jack Studio, a new performance

space above the Brockley Jack pub in Lewisham.

Side by Side by Forty years on from first seeing before breathed a
Sondheim, the light of day at John
Dankworth and Cleo Laine’s sigh of relief on
8–26 September Stables Theatre in Wavendon,
2015 at the Jack near Milton Keynes, Side by Side discovering that,
Studio Theatre, by Sondheim celebrated its latest
notable birthday with a new much to his
Brockley. professional production at the
Jack Studio Theatre, which forms surprise, it was
Musical Director & part of the Brockley Jack pub, a
Narrator, Stuart few minutes’ walk from Crofton actually on ground
Pedlar. Park Overground in South
London. floor level so he

Rather like HM the Queen, wouldn’t have to
Side by Side seems to celebrate
two birthdays, one having a hike up too many
choice between its Wavendon
world premiere in 1975 and its flights of narrow
first London run which started at
the Mermaid Theatre in 1976. stairs as is all too

The Jack Studio Theatre, like often the norm
so many similar venues, is a plain
bare rectangular space with the with pub theatre.
performers based at one of its
thinner ends while the audience, As discussed
only a few rows deep, surround
the central acting area on three elsewhere (pp.6–
sides.
11), being a revue means that the Air”, Grant McConvey slotted his
One older Society member
who had never visited the theatre format of Side by Side is simplicity own chair between those of the

itself; different productions can front row audience and became a

be reassuringly similar and there further spectator, the other

probably isn’t really much members of the cast in their turn

opportunity to do anything doing likewise.

radically different. Musical Director Stuart Pedlar

While for a few numbers the has been a regularly recurring

performers stayed close to the feature of Side by Side. Part of the

pianos, most of the time they original creative team, over the

took full advantage of the space years he has returned to the show

on offer. Director Elliot Clay, who in a variety of productions, most

has also worked as a singer and notably those celebrating its 10th

Musical Director, made ready use and 25th anniversaries. In these

of his acting area. In this, he was he has enjoyed a succession of

joined by Choreographer partners at the second piano.

Anthony Whitemann in giving a Here it was the turn of Dan

more fully-staged feel than is Glover.

sometimes the case with this The director having dispensed

show. with a separate Narrator, Stuart

Given that the performance – added that role to his portfolio.

indeed the run as a whole – was Always amiable and working

completely sold out, one member without a script, this didn’t seem

on entering the theatre to come quite as naturally to him

expressed surprise over some as his always excellent piano

gaps in the front row seating. playing, although he made a fair

“Surely they could have fitted in a stab at it. Ned Sherrin’s original

Scott Rylander few more audience?” All was soon narration – or at least one version

explained when, having of it – seems to be part and parcel

performed the opening number, of the performing material. Being

“Comedy Tonight”/”Love is in the written 1976, it did seem a little

12

The Stephen Sondheim Society

dated, especially as it only tells Scott Rylander
the Sondheim story up to that
point, which somewhat places differing roles and one was by Sides”, I was surprised that Left to right: Sarah
the show in a time-warp. Stuart, always interested in what she had they didn’t keep to the original Redmond, Grant
like Ned before him, added a few to give. formula whereby each in turn McConvey and
topical references to the current introduced the next artist in the Marianne Benedict
political situation. Marianne, in the Julia roles, chain by name before the final in roles originally
gave a good account of “Another “By Sondheim”. created by Milly
The three singers were Hundred People”, convincingly Martin, David
Marianne Benedict, Sarah built “Broadway Baby”, but didn’t By the end of its three week Kernan and Julia
Redmond and Grant McConvey, a quite convince in “Losing My run, it was gratifying to learn that McKenzie
finalist in this year’s SSSSPOTY Mind”, which was somewhat performances were sold out. The respectively.
competition, where he sang the over-sung. only downside was that they’d
prize-winning Stiles and Drewe also completely sold out of
Best New Song “Don’t Look Down” Good though Grant was, he programmes for the last two
by Richy Hughes and Joseph never quite stamped enough performances. Judging the print
Finley. (Originally announced Su personality on his variety of roles. run for a three week show can be
Pollard had to withdraw from the I’m sure that this will come with difficult. On the one hand the
production.) They kept to the time and experience. He was at producers don’t want to waste
same song allocation as his best in “Being Alive”, fine in money by having lots of spare
performed by originators Julia “Buddy’s Blues” but made less on programmes left over after the
McKenzie, Millicent Martin and an impression in “I Remember” final performance. Conversely if
David Kernan respectively. and “Anyone Can Whistle”. they do run out it’s not a viable
financial proposition to reprint
The song list was the now- Of course, half of the numbers less than a hundred. I know
standard one as performed at in the show are duets and trios that some members were
Wyndham’s except for the and in many ways these were the disappointed so we’ve arranged
surprising omission of “I Never Do best items in the performance, for the programme to be
Anything Twice”. A shame as allowing the cast to react to each available on the Society website.
Sarah would seem to be the ideal other. While there are unlikely to
singer for it. Perhaps Milly has be any awards for the trumpet Isn’t it warm, isn’t it cosy, Side
finally arranged permanent sole playing in “You Gotta Get a by Side? Year after year, older and
worldwide rights for performing Gimmick” at least, for once, the older, Side by Side. What would
this number! programme gave it its correct we do without you?
title. These also gave fullest
It is a formidable task stepping opportunity for Elliot Clay and
into the shoes of such esteemed Anthony
predecessors, not to mention the Whitemann to
countless singers who have display their talents.
performed the material both There was no set as
in cabaret and as part of full such, beyond a pair
productions. For me the pick of of curtains
the crop was Sarah Redmond in occasionally drawn
the Milly roles. For the last five across the back.
years her work as a director has
taken her to the other side of the In the closing
footlights which I’m sure has number, when the
been to her casts’ gain but whole cast and
decidedly to her audience’s loss. pianists passed the
She coped easily with the baton to each other
complexities of “Getting Married with their final “Side
Today” and is a fine actor with a
great range of facial expressions
and reactions especially in
numbers such as “The Boy
From…”.

Conversely she knew when to
just sit still and gave a calm but
moving performance of “Send in
the Clowns”, which contrasted
with her belter of a showstopper
that was “I’m Still Here”. She
brought great variety to her

www.sondheim.org 13

Review Sondheim 85th Birthday

Prom at the Cadogan Hall

Microphone failures, over-fussy piano arrangements and
pretentious programming… David Lardi doesn’t find much to
like in the BBC’s Prom concert honouring Sondheim’s birthday.

Sondheim 85th While the BBC celebrated Sondheim’s 80th birthday but it couldn’t really be claimed that Sondheim has
Birthday Prom with a dedicated large-scale Prom at the Royal played a major part in her career. She has, though,
Cadogan Hall, Albert Hall with full orchestras, choruses and many twice appeared in A Little Night Music, firstly as
leading soloists, his 85th occasioned considerably Desirée at Chichester (1989) followed, only six years
London on more modest observance which was limited to a later, at the National Theatre as Madame Armfeldt,
17 August 2015; one-hour lunchtime concert with just five with Judi Dench as her daughter.
performers at London’s Cadogan Hall.
pictured left to That being said, it was more than a little
right are Kitty This concert, we were informed, was “lovingly surprising that, given a concert of 18 items, she had
Whately, Richard curated” (sounds like bacon) by its pianist, Richard but a single solo, “Liaisons” (ALNM) as well as
Sisson on piano, Sisson. Whatever happened to good ol’ joining in towards the end of the two final numbers.
Jamie Parker and “programme planned by”? In fact, the end Added to the singers was saxophonist Anthony
Siân Phillips. result was decidedly a curate’s egg, with far too Brown, whose two solos, “Send in the Clowns”
much pretension for my taste both in terms (ALNM) and “By the Sea” (Sweeney) might just as
Siân Phillips gives of some of Richard’s musical well have been taken by Ms Phillips. One wonders
a touching arrangements and his spoken whether this was the original intention?
rendition of introductions. Petroc Trelawny’s
“Liaisons”, obviously scripted and increasingly In fact, “Send in the Clowns” typified part of the
florid opening remarks ended problem with this concert. Given three singers on
reprising her role with him reciting “Good Thing hand, why did anyone think it a good idea to
of Madame Going” with piano underscoring present one of Sondheim’s most popular numbers
before he handed over to Richard as a saxophone solo, especially as the result was so
Armfeldt from the himself. self-indulgent and mannered?
1995 Royal
Allegedly headlining the The two other singers were Jamie Parker and
National Theatre concert was Siân Phillips. While a Kitty Whately, daughter of Kevin – the Herbie in the
production of A distinguished veteran actress, Chichester incarnation of Gypsy. While Jamie is
mainly in legitimate theatre, she unquestionably one of musical theatre’s younger
Little Night Music. has done a number of musicals stars, Kitty is from the other side of the business as
including Gigi, Marlene and Pal Joey, she is one of BBC Radio 3’s “New Generation

Artists”. The difference showed.
The BBC’s pretension, dare one say

snobbery, was readily apparent in that
Kitty was billed as a “mezzo” while the
other two were mere “vocalists”.

Vocalists? Surely it would have been
simpler and better to put them on
equal footing and call all three of
them “singers”?
Things started badly due to a
microphone fault that made
Kitty all-but inaudible, especially
to radio listeners, so all one
could hear was her piano
accompaniments. It wasn’t until
the sixth item that she was given a

(dodgy) hand-held mic. I know that it
was a live broadcast but the problem
was so extreme that I’m surprised that
nobody – “Hey, Mr Producer” – hadn’t

14

The Stephen Sondheim Society

All photographs © Sarah Jeynes/BBC

the sense to halt proceedings – rain stopped play – accompaniments, too many of his piano Saxophonist
and sort things out properly rather than continue to arrangements seemed fussy or mannered. Anthony Brown
transmit a seriously flawed broadcast. with pianist
The opening section of “Losing My Mind” just Richard Sisson,
For the “edited” repeat the following Sunday, all never got going, and I sincerely hope that Richard who provided the
was surprisingly in full working order, with a perfect didn’t mean the bizarre chord that he played arrangements.
balance between voices and piano. The reason for following Sally’s final “You said you loved me”.
this was simply because immediately after the Given its full and complex vocal harmonies,
audience had left, the artists re-assembled to re- “Sunday” really doesn’t work as a duet with
record the offending items. This repeat broadcast saxophone and Siân Phillips only joining in
also lost “Goodbye for Now” (Reds), probably towards the end.
because of time constraints, the live original
concert having over-run its allotted one-hour slot. I’m sure that you’ve got the general drift of
things by now. To be fair, there were some good
We all know that Sondheim prefers actors who performances along the way but too much seemed
sing over acting singers and this concert showed overblown and, er, Radio 3. For the real thing, one
why that is the case. Kitty unquestionably has a needed to return to where we started: Siân Phillips.
well-trained voice but is it really suitable for musical “Liaisons” was the performance to treasure. What a
theatre, especially in such a variety of roles? She shame that there wasn’t more of her.
sang beautifully but there was a sameness to her
characterisations, or lack of them, whether she was Proms Chamber Music 5: A Sondheim Cabaret
Sally, April or Dot. Hers was the most “glamorous” 13:00 Monday 17 August 2015, Cadogan Hall
Fosca that you’d ever encounter.
1. “Everybody Says Don’t”...........................Kitty Whately
Kitty seemed more concerned about the quality 2. “I’m Calm”....................................................Jamie Parker
of her singing rather than the roles that she was 3. “Hello, Little Girl”.......................................Whately, Parker
portraying. She was at her best in “Fear No More” 4. “Take Me to the World”...........................Whately, Parker
(Frogs), a reflective rather than dramatic number, 5. “Send in the Clowns”................................Anthony Brown (sax)
and a rare example of Sondheim setting somebody 6. “Fear No More”...........................................Whately, Parker
else’s lyrics. 7. “Too Many Mornings”..............................Whately, Parker
8. “Barcelona”..................................................Whately, Parker
Jamie provided much more variety. One 9. “Sunday in the Park with George”.......Whately, Parker
would never confuse his Giorgio with his Ben or 10. “Liaisons”......................................................Siân Phillips
Hysterium. He was only given the opportunity to 11. “By The Sea”................................................Brown (sax)
sing the start of the latter’s “I’m Calm” before it 12. “Rain on the Roof”.....................................Whately, Parker
segued fairly pointlessly into the Wolf’s “Hello, Little 13. “Happiness”.................................................Whately, Parker
Girl” – another fussy arrangement which got in the 14. “Losing My Mind”......................................Whately
way of the song itself. In “Barcelona”, I know that 15. “Sunday”.......................................................Phillips, Whately,
Bobby has just spent a highly energetic night (and
probably early morning) but he carried on yawning Parker, Brown
for far too long. It became a distraction. 16. “Goodbye for Now” (encore)………...Full company

Richard Sisson was all-too centre stage. In a
concert setting, did we really need the slow
extended ten-bar play-off to “Too Many Mornings”?
When straying from Sondheim’s original

www.sondheim.org 15

Review Wilson conducts Bernstein

David Oldcorn pays a visit to South Kensington for a Proms concert
featuring the music of Bernstein as played by SSSSPOTY 2015 judge
John Wilson and his orchestra.

Chris Christodoulou/BBC March”, where the chorus really excelled in this
stirring piece.
John Wilson While Sondheim’s 85th
conducts the birthday was celebrated Next came Scarlett Strallen – in a lovely dress
by a lunchtime concert that quite matched her first name – who persuaded
Leonard at the Cadogan Hall, the us that she was “A Little Bit in Love” (Wonderful
Bernstein 25th Anniversary of Town), after which Louise returned and gave quite a
Promenade Bernstein’s death got performance explaining that there are “A Hundred
Concert at the the full-blown Easy Ways to Lose a Man”.
Royal Albert Hall, treatment with a major
London on Prom at the Royal Albert Hall. For those not lucky The first half of the concert concluded with
5 September 2015; enough to get tickets for this sold-out event, they at the Symphonic Suite from On the Waterfront,
inset, Matthew least had the consolation of a later television sadly the only time Bernstein ever composed film
Stuart Price, Jack broadcast. music. The orchestra gave us a real treat with this
North, and, On hand to provide the music were John Wilson beautiful score.
Matthew and and his eponymous orchestra along with the Maida
David Seadon- Vale Singers under the direction of Christopher Dee. The second act began with four pieces from
Young sing “Gee, Joining them were no less than 13 leading singers Candide. First came its dazzling overture, then Lucy,
Office Krupke”. to provide a cornucopia of music ranging from assisted by Matthew and David Seadon-Young and
solos to quartets. the chorus, sang “I Am Easily Assimilated”. Julian
The evening began with a segment from On the then gave us “Nothing More Than This” and Scarlett
Town. Opening proceedings was Robert Winslade- (Cunegonde at the Menier) showed her brilliance
Anderson singing “I Feel I’m Not out of Bed Yet”. once more in “Glitter and be Gay”.
While “only” a member of the Maida Vale Singers,
you could close your eyes and imagine you were Next up was West Side Story. The orchestra
hearing Paul Robeson. This number lead inevitably played the “Dance at the Gym” with enormous
into “New York, New York” followed by Julian energy and this was followed by Julian singing
Ovenden (Franklin Shepard in Merrily at the “Maria” and the Seadon-Youngs, with Stuart
Donmar) singing “Lonely Town” and Louise Matthew Price and Jack North, enjoying themselves
Dearman with “I Can Cook Too”. in “Gee, Officer Krupke”.
There followed two numbers from the
somewhat less successful 1976 musical 1600 Now came two rarer pieces by Bernstein. Lucy,
Pennsylvania Avenue; “Take Care of this House”, aided by Stuart, Mark Meadows and Sarah Ryan,
beautifully sung by Lucy Schauffer, is heard performed “Island Magic” from Bernstein’s only
occasionally on radio, but not, I think, “The opera, Trouble in Tahiti, then Scarlett sang “Dream
President Jefferson Sunday Luncheon Party with Me” from Peter Pan. (This number is usually cut
in performance but can be found on the CD). While
I am sure that these were new to many people they
proved to be a real bonus.

Predictably the concert finished with “Make Our
Garden Grow” from Candide. With the large
orchestra and chorus, and Julian and Scarlett
singing the two main leads assisted by five of the
other soloists, this great anthem was the perfect
way to end a wonderful evening – except that it
wasn’t the end because Alexandra Silber and Gina
Beck then came on stage and sang “America” from
West Side Story; a fun encore, and a great way to end
a superb concert.

In case anyone might wonder why we had not
heard from these lovely singers earlier it was simply
because they were unbilled “surprise” guests with
Silber having to fit in her appearance here around
her cabaret that same evening at the Crazy Coqs.

16

The Stephen Sondheim Society

Review

Jeremy Chapman wets his with a sell-out production of the

rarely performed show at the Guildford School of Acting.

The curiosity value of seeing one stars who had never before sung All images © Mark Dean/GSA
of Stephen Sondheim’s least- on a Broadway stage.
performed works – it lasted only theatrical wilderness, unloved Anyone Can
nine performances on its The young Barbra Streisand by all but serious Sondheim Whistle, Guildford
Broadway bow in 1964 – led to a was number-one choice for crazy aficionados, although the original School of Acting's
sell-out for the Guildford School Nurse Apple but she went off to (truncated) cast recording built Second Year
of Acting’s three-day run. do Funny Girl and the part went up such a cult following that it musical theatre
to film star Lee Remick, a fine was subsequently issued as a students at
Even though the show was actress who had the best songs slightly extended CD in 1988, The Mill Studio,
only performed by second-year but not the larynx to make them itself reissued in 2003, this time Yvonne Arnaud
students midway through their sound as special as they with the addition of five demo Theatre, 4–6 June.
course, the Sondheim Society undoubtedly were. tracks sung by none other than Above, left to
organised an outing to the bijou Sondheim himself. right, Martina
Mill Studio at the Yvonne Arnaud And in what was her first Lawrence-Mahrra,
Theatre, with completists attempt at a musical, Angela In America, there have been Jack Keane and
journeying from far and wide to Lansbury lacked the confidence various staged concert versions, Michael Craig
add to their Sondheim “set” or to of her later career, not helped by the most famous of these being Dawson; below,
remind themselves, if they'd seen the fact that her “rather small at Carnegie Hall in 1995 which students of GSA:
it before, of what made it such a voice” had always been dubbed saw the return of Angela “Which is who is
flop. when she’d previously made Lansbury, but this time as who?”
musical movies. Nor did she Narrator. This performance is
Although their appetite for initially like the way she was
anything Sondheim will have required to play the part of Cora,
been temporarily sated, were the corrupt mayoress, and fought
they whistling a happy tune on Laurents tooth and nail over
the way home? If many were interpretation.
disappointed, the blame lies not
with a score full of good tunes Worse still, Harry Guardino,
but with the clunkiness of the who played the male lead
story and Arthur Laurents’ “Dr” Hapgood and really could
narrative. sing, lost his voice, went to pieces
and started drinking heavily after
Any Sondheim musical that the critics panned him and the
can ditch a song as good as show.
“There Won't Be Trumpets”
(although happily it resurfaced in So it wasn’t a happy ship that
Marry Me A Little and as a cabaret sailed out of the choppy waters
favourite) must be slightly barmy of the Majestic and into the
and this one, about a mental
institution in small-town America,
simply did not resonate with its
1964 audience. Maybe it was
ahead of its time, just as
apologists said about Merrily We
Roll Along 17 years later. Or
maybe it just wasn’t very good…

One big problem with the
original was that Sondheim’s
superb lyrics in classics such
as “I’ve Got You To Lean On”,
“Everybody Says Don’t”, “With
So Little To Be Sure Of” and, of
course, the much-travelled title
song were not in the hands of
specialist singers but Hollywood

www.sondheim.org 17

“Lock ‘em up! Put also available on CD. The work troubles and cast problems confidence and his treatment of
‘em away! Into the was also seen as part of the New (not least the death of one another big number, Sondheim’s
York City Center Encores! series of the main players before classic warning “Everybody Says
Jar! Time to start but otherwise Whistle has it reached Broadway). Don’t”, melded well with his
getting the nets virtually vanished off the face of strong acting skills to mark him
out!” The balletic musical theatre in the States. As one of the kinder down as a name to watch out for.
“Cookie Chase” reviews put it, Laurents’
Whistle was first seen in the book was “ponderously heavy- These were only second year
sequence as UK in 1986 in a production by handed and clumsily vague in its students and some way from the
realised by the John Doyle at Cheltenham’s presentation of a somewhat finished articles that GSA will
cast of students Everyman Theatre. Its London obscure thesis” and the storyline, launch next year into the ultra-
premiere was in 1990 in that the inmates of the Cookie Jar competitive world of West End
from GSA. Southgate in a pro-am sanatorium were no madder than and Fringe auditions, yet there
production, while it made its the politicians and police chiefs was no denying the potential
“Let’s play docteur”: West End debut as a one-off on the outside, was generally on view.
Nurse Fay Apple semi-staged performance at the agreed to be a dubious subject
Savoy in 1997. for musical comedy. Courtney Bowman, taking the
(Megan Bancroft) As for GSA’s game midsummer Lansbury part of Cora (Dame
instructs Hapgood. London finally got its first effort, it was a commendable Angela called the script “nuts”
fully-staged professional attempt at the virtually when first sent it), had plenty to
production in 2003 at the impossible. An already confusing do and relished every moment,
Bridewell Theatre with a cast led plot was made even more making every word count.
by Paula Wilcox and Janie Dee. It muddied by the fact Nobody could complain
was last taken out of mothballs in that, inevitably, the actors were about her audibility.
the capital in 2010 at the Jermyn of a similar age whereas
Street Theatre in a production the characters were not, so And we could have done
starring Issy Van Randwyck and establishing the necessary with hearing more of Marina
Rosalie Craig in the “John Doyle” contrast was always going Lawrence-Mahrra’s thrilling
manner with the actors also to be difficult. soprano in a minor role. Also a
playing instruments. And as with other student clarinettist, she, like others in
productions – I noticed the same the big cast, had to multi-task in
In truth, the original stood with Carousel – trying to “feel” helping out musical director
little chance of surviving being a period in time entirely alien Peter Roberts’ hard-working
savaged by the vast majority of to them does cause young piano with Sondheim’s tricky
critics even without its money performers more problems than score.
accents or, indeed, interpretation
All images © Mark Dean/GSA of the songs. The long Cookie Chase Ballet
There were plenty of pluses segment livened up the second
though, particularly Megan half considerably, demonstrating
a further facet of these
Bancroft who performed youngsters’ triple-threat
the title song and “There capability. Maybe this brush with
Won’t Be Trumpets” with a minor Sondheim will encourage
purity and supreme some of them to join us.
clarity. Megan, as Nurse
Apple, also showed good Without the help of director
comic timing in the Kenn Oldfield’s informative
seductive “Come Play Wiz programme notes or swotting up
Me”, in faux French the plot in advance, this alleged
accent and spectacular satire must have mystified many
red wig, love-duetting in the auditorium. For a “comedy”
with Jack Keane’s well- the laughs were in short supply.
realised fake doctor.
I’m told that Whistle improves
Keane oozed with the knowing. To an ACW
rookie somewhat underwhelmed
by the initial experience, that, at
least, is good news…

18

The Stephen Sondheim Society

Steve Ross: The Crown Interview

Prince of New York Cabaret

Jeremy Chapman talks to the debonair Steve Ross about his four
decades of cabaret and his brushes with the man he respectfully
refers to as “Mr Sondheim”.

The veteran singer-pianist Steve Ross has not been Mike Martin
called “the crown prince of New York cabaret” for
the last 40 years for nothing but even he, with all melodic complexity and the glorious intricacies and
his reputation and experience, is in awe of his passion of his lyrics. It’s a specific climate, if you will,
fellow Steve, whom he reverentially still calls whose air I begin to breathe, for example, when I
Mr Sondheim. play the opening bars to ‘Send in the Clowns’.”

“To be honest, he scares me half to death,” After years of behind-the-scenes problems,
says Ross. “We’ve never really spoken more than November finally sees the birth of the CD of the
cursorily – in truth I find it rather intimidating to material that Ross has wanted to preserve for
be in his presence. Maybe like an artist going to posterity ever since the success of Good Thing
Picasso’s studio, thrilled but over-awed. But you Going, the Sondheim cabaret that he performed in
go anyway!

“I met him in the Seventies once at a party
and, as I say on the recording, I sat with him
briefly when he did me the honour of attending
my Good Thing Going show at the Algonquin –
he was complimentary – but our paths have not
often crossed.”

I asked Ross what first turned him on to
Sondheim and he sent me a clip from his
forthcoming all-Sondheim CD in which he relates to
his Pizza on the Park audience that seeing the last
run-through of Company on a spring day in 1970,
even without orchestra, made him and his
companion realise “it had been a watershed in the
lives of all of us who love musical theatre.”

Earlier, he had said: “Company is ground-
breaking but every musical Mr Sondheim has ever
written is groundbreaking in a way. He has been
raising the bar and pushing the envelope with his
deconstruction and reconstruction of the American
musical and displayed what all great art, and great
artists, should have – which is audacity.

“He has taken us to places nobody else had
visited… alienation, ageing, anxiety, despair,
murder… and that’s the bright side! He is probably
the only composer to have investigated so deeply
the darker side of the human psyche where all
those fears and intense emotions reside and,
because of his supreme artistry, he has made them
objects of fascination, beauty and, the neatest trick
of all, entertainment.

“I always say that Sondheim songs create their
own specific aural and intellectual atmosphere,
unlike that created by any other composer I can
think of. A combination of effortless art of his

www.sondheim.org 19

Manhattan and London in What struck the first-timer was how much one

the Noughties. learned about those legendary names (and others

The CD’s 22 songs and of course), quite apart from the immense

some of Ross’s linking entertainment value provided.

patter make up a treat Steve’s sophisticated, civilised showmanship

bound to please Society symbolised what the Pizza on the Park was all

members (see David Lardi’s about. He not only opened the cabaret room at the

review on p.21). Knightsbridge nightspot in 1982, he also brought

To my question as to down the curtain there in a nostalgia-filled, black-

why he had selected these tie farewell show in the summer of 2010.

particular songs: “The Thankfully, Ross has not been lost to London,

director, Duncan Knowles, continuing to perform there regularly, firstly at The

and I had many more songs Pheasantry in Chelsea’s Kings Road and then, at

on the piano to choose least once every year, at the much-admired Crazy

from. As we did in the Coqs, just a stone’s throw away from Eros in

creation of the many shows Piccadilly.

that we’ve worked on Ross’s Great American Songbook repertoire has

together, we started with always been exceptional and the knowledge he has

the songs I knew and read accumulated about these songs and their creators,

through many of the others passed on with a many a bon mot or anecdote, has

- A list, B list kind of been a big part of the secret behind his enduring

operation – then it was just popularity.

Ross channelling a process of winnowing.” Far more than just a performer, Steve is an
the spirit of Fred
Astaire. The New I also asked Ross what his favourite Sondheim educator too. When I was lucky enough to be
York Times called
him “a devoted song was and why. He immediately chose “With So invited to stay at his Upper West Side apartment, a

Astaire acolyte Little To Be Sure Of” (from Anyone Can Whistle): “The steady stream of students eager to sit at the feet of
and the suavest of
achingly beautiful melody and the words which for the master and learn the art of cabaret would
all male cabaret
performers.” me sum it all up – whatever ‘it all’ is. appear in the afternoons.

“Very few songs can comment on the madness From London to Sydney he has lectured

and randomness of living (‘Crazy business this, this on his craft whilst being acknowledged as the

life we live in’) and then evoke profoundly the only “quintessence of old-style urbanity” as a performer.

emotion which can conquer the fear of what is Ross has also acted on stage, on and off Broadway,

unknown and transient in this life, love (‘All I’ll ever and his Noël Coward revue with Sheridan Morley

be I owe you… Being sure enough of you makes and Patricia Hodge along with another about Jack

me sure enough of me.’). I approach the Buchanan are fondly remembered.

performance of this gorgeous piece of musical art The voice, never any more remarkable than

with eagerness and, at the risk of overstatement, Astaire’s but an expressive instrument in its own

humility.” right nonetheless, has always been the support to

It is more than 30 years since I first met Ross at his exquisite piano work which he continues to

the much-missed Pizza on the Park and at the Ritz in hone day after day, although turning 70 is now a

Piccadilly, when that famed hotel did a wonderful distant memory.

late-supper deal: a starter or pudding plus an hour Always one to let the lyrics of a song speak for

of Mr Ross for £15. Yes, it’s that long ago and what a themselves, he says: “So much of cabaret is about

bargain it was. love. It’s the emotion we’re always trying to be

At the Pizza, he used to cycle in from wherever reminded of.”

he was staying, take the clips off his trousers and He is an artist who appreciates his audience as

emerge from the dressing room suave and much as they enjoy his talent. “The highest thing

immaculate in tuxedo and bow-tie, easing himself people can say about an artist is ‘You know, I felt

and his attentive audience through his beloved that they were singing right to me’. If you’ve got the

Fred Astaire and Cole Porter, with a smidgen of goods and you’re honest, that's where the thrill

Noël Coward insouciantly tossed in for good comes in, because of the urgency of the people

measure. really feeling what they feel. It's right there.”

The San Francisco Chronicle wrote: “Attending a

Ross performance is like opening a treasure chest of

great, often rare, songs. No one performing today is

his equal. They just don't make ‘em like that any

more.”

I’ll second that and at the same time pose the

worrying question: What will become of all those

rare songs that only Ross and a very few more still

20

Everything’s The Stephen Sondheim Society
Coming Up Ross’s
Review
David Lardi reviews Steve Ross’s
new recording:

In the last few years, there has of their set, the artist works the out the show in Steve Ross, Good
been a veritable explosion of room, moving from table to February 2007 at London’s Thing Going: The
cabaret performances (and table to trade pleasantries with Jermyn Street Theatre, it played Songs of Stephen
venues) in London, a style their patrons who may well be at New York’s Hotel Algonquin in Sondheim,
previously little-known here adoring fans. September of the same year, released by
except by a few cognoscenti. But where Mr Sondheim himself saw Harbinger Records.
how do the live performances of Some cabaret singers are it and evidently approved.
cabaret artists differ from those of former stage actors now adding
theatre actors or, at the other end another string to their bow. The show was devised by Ross
of the scale, popular singers who These artists often perform also along with Duncan Knowles (who
happen to include this type of in larger-scale venues and also directed) and they jointly
material as part of their regular formats. Into this category the made the musical arrangements.
acts and recordings? The answer names of Barbara Cook and Maria Numbers are re-thought and re-
is a complex mixture of venue, Friedman readily spring to mind. invented but always in a way that
scale, format, arrangements complements the material rather
and delivery. But there are a small number than merely spotlighting the
whose careers haven’t followed performer and his undoubted
Solo presentations can that trajectory but, instead, have talents. They are always
encompass a wide spectrum. built them entirely around
Some artists shine in cabaret performances, sometimes
performances in large packed coupled with live recordings of
auditoria, accompanied by full their shows. These artists are
band or orchestra and enjoying frequently little-known, even to
slick productions and musical many regular habitués of musical
arrangements. Michael Feinstein theatre and the concert hall.
is a master of these. Others may
choose medium-size venues Among the finest of these is
accompanied by just a handful of unquestionably American Steve
colleagues including their Musical Ross, whose career has been
Director at the piano and, dedicated to cabaret, his
perhaps, bass, drums and repertoire frequently taken from
sometimes a single reed player. The Great American Songbook
with a speciality of the works of
Most intimate of all though is Cole Porter.
the cabaret performance in a
small well-appointed room with He hasn’t been totally
its relaxed (and chatty) audience neglected by the media, though.
grouped around individual tables, In 1990, BBC Radio had the
replete with alcohol and nibbles. foresight to broadcast a series
This places them only a few feet of his live performances from
away from the performers who London’s Pizza on the Park,
are on a barely-raised stage, all generous highlights of which
giving rise to the feeling that the were issued eight years later as a
artist is singing “just for them”. 2-hour 20-minute, 41-track 2-CD
set entitled Travels With My Piano.
This is even more the case
when the singer and pianist The present Sondheim CD
is actually one and the same under consideration, Good Thing
person. This personal touch is Going – a number not actually on
emphasised if, at the conclusion the disc itself – derives from live
performances at the same venue
in October 2008. Having first tried

www.sondheim.org 21

“Steve Ross’s intelligent and “clever” in the very something rich and strange”. Out Loud. Its inclusion surprised
way with songs best of senses and, most of all, Steve is a highly accomplished even Sondheim himself. (There
is to give them sometimes incredibly moving. is a previous recording of this
pianist and his abilities in this number on Varese Sarabande’s
a gentle Steve Ross’s way with field are heard to great effect Sondheim at the Movies.)
transformation, songs is to give them a gentle throughout. Extended piano
thereby making transformation, thereby making interludes are sometimes in short There are too many felicities
them his very own. But this is supply when a singer employs a to note them all. Suffice it to say
them his very often far more than just a separate accompanist, as this can that Ross makes you feel as if you
own.” “juicing-up” of the harmonies. For leave the former out on a limb are hearing well-loved and very
example, one might anticipate with nothing to do, but when familiar songs for the very first
that a song would progress from an artist combines these roles time. He provides brief,
a traditional start only for it later there’s no such problem. A good apposite and frequently witty
to take flight into something example of this can be found in introductions to his songs, all the
different. In “Marry Me a Little” “Anyone Can Whistle”. while paying due respect to
the process is reversed as it opens “Mr Sondheim” himself. No
in an archetypal laid-back cabaret Ross has been playing the fawning over-familiarity here.
style only for it – two minutes in – circuit for very many years, so it’s
to revert to its original form, no surprise that his voice doesn’t These are live recordings
complete with agitated piano sound like that of a young man, edited from two separate
accompaniment, before though fine singing is still very performances. The close miking,
concluding with moving much in evidence. I would readily along with the inclusion of
simplicity. (The packaging would agree with one commentator audience reaction and applause,
have been more accurate if it had who described his delivery as greatly enhances our feeling of
described this number as “not “careworn”. The closest involvement. All that is missing is
used originally” in Company, comparison that comes to mind actually being there in person.
rather than just “not used”, as it is is that of Fred Astaire. Inherent with live performances
now the norm for it to close the are the very occasional minor
first act.) His choice of material here is, imperfections but these in no
as always, wide-ranging, way detract from what is a
“Pretty Women” becomes a including such surprises as “One notable achievement. The very
gentle bossa nova while the More Kiss” and “Ah! Paris!”. Less last track of the disc is a bonus
rhythm of “Being Alive” is familiar numbers include “Who studio recording (made the
changed subtly from 4/4 to a Could Be Blue?”, which was cut following year) of “Goodbye For
lilting 6/8. The title “Buddy’s from Follies and the first and Now” from the film Reds, which
Blues” might normally be unused version of “We’re Going provides a touching and apposite
considered something of a to be All Right” from Do I Hear a conclusion.
misnomer, at least in its musical Waltz? (music by Richard
sense, given that, in its original Rodgers), which is best known The highest compliment that
form, it is rather a frenetic “get- from its inclusion in Side by Side I can pay this CD is that, since the
off” number for a vaudeville by Sondheim. Also from Waltz is a moment it arrived, it has rarely
comedian. Here, it truly is a blues, touching “Take the Moment”, been off my player. I can see it
cleverly introduced by a quote which closes his set. keeping a place near the very top
from Louise’s strip version of “Let of my pile of solo Sondheim CDs.
Me Entertain You” from Gypsy. We As virtually all of Sondheim’s
readily recognize these familiar output is now so well-known, it Reduced priced copies of this CD
numbers but the overall result is must have been difficult finding are available to members. See the
to transform them “into real rarities. The only one in this enclosed Newsletter for full details
category is “Sand” from the
unproduced 1992 film Singing

22

The Stephen Sondheim Society

: Feature
original cast reunion

Our North America correspondent Daria Begley reports back from
the Broadway cast reunion and panel discussion, held in the
presence of the show’s creators, Sondheim and Lapine.

Stephen Sondheim, James Lapine and original Sondheim didn’t read fairy tales (or Grimm tales) Into The Woods
Broadway cast members of Into the Woods reunited growing up – mainly the Oz books and The Hardy Original Cast
for two shows on 21 June at the Brooklyn Academy Boys. He professed that Lapine’s creation of a Reunion, 21 June
of Music’s Howard Gilman Opera House. This Cinderella who intentionally leaves her shoe behind 2015, Howard
reunion featured Bernadette Peters (The Witch), for the Prince hadn’t been done in 500 years. Lapine Gilman Opera
Chip Zien (The Baker), Joanna Gleason (The Baker’s said that the tales were chosen for their structure House, New York.
Wife), Robert Westenberg (The Wolf and Cinderella’s and that the show resonated with him because he
Prince), Kim Crosby (Cinderella), Danielle Ferland was a new father and realised the musical was
(Little Red Riding Hood) and Ben Wright (Jack). TV about morality. Left to right: Mo
journalist Mo Rocca moderated the panel discussion Rocca (host), Chip
to a mostly young and lively crowd. He wrote a long opening scene featuring Zien, Ben Wright,
Little Red Riding Hood, Jack and the Beanstalk James Lapine,
The reunion started with Sondheim and Lapine and Cinderella – then gave it to Sondheim: “not Kim Crosby,
entering to a standing ovation, then taking their knowing how he’d musicalise this. He took it, Bernadette Peters,
seats on-stage. Rocca began by asking the two and, boom… After the opening number, we Danielle Ferland,
creators about the show’s genesis. Lapine said that could ride with it.” Sondheim, Robert
he had wanted to write a fairy tale and Sondheim Westenberg and
had wanted to write a quest musical along the lines Gleason and Zien were up next. Zien said he had Joanna Gleason.
of The Wizard of Oz, so the goals were combined. worked with Sondheim and Lapine on the La Jolla
version of Merrily We Roll Along, playing Charley
Originally, they created a mash-up of their Kringas and that this had led him to Woods, where
favourite television characters from shows like he first auditioned for Cinderella’s Prince. Gleason,
Doctor Kildare, Father Knows Best and I Love Lucy, all who would go on to win a Tony Award for her
meeting in a hospital. They brought the project to performance, attended the same. She had only
producer Norman Lear, who liked it and asked to one song at her audition, which was slow so when
see a script but it was only the idea they were Sondheim asked for something up-tempo, she
pitching so they moved on. sang the song again, faster.

Richard Termine

www.sondheim.org 23

Rocca reminded

Gleason that she

contributed to the lyric “I’m

in the wrong story,” the

only time that Sondheim Into The Woods
has used an actor’s line as

a lyric, as noted in

Sondheim’s book Look, I Seduction in
Made a Hat. “It’s on page

the Woods,91,” she reminded him.

The lyric in “Any
Moment” came from a

phone conversation with

Sondheim about her

character’s rendezvous

with Cinderella’s Prince.

Gleason became

confused and blurted

out: “What am I doing

here? I’m in the wrong

story.” She and Zien Peters in Connecticut and that he asked her first!

then sang “It Takes She agreed, appeasing both authors. They said they

Two” followed by Zien were surprised that she took the role because it’s

singing both parts in “No More”. part of an ensemble.

Into The Woods Husband and wife Robert Westenberg and Kim Sondheim and Lapine both like the witch
opened on
Crosby were next. Crosby has already played because she speaks the truth: “No bullshit about
Broadway on
5 November 1987 Cinderella several times, but noted this was the only her,” said Sondheim. Lapine then revealed the
at the Martin Beck
Theatre, where it production where the character was proactive. trick of the Witch’s transformation at the end of

ran for 764 Lapine added that Patti LuPone also auditioned for the first act, saying he spent a lot of money on a
performances.
the role. On the first day of rehearsal Westenberg magician but ended up using a body double who
Lapine described
the reunion with spotted Crosby and asked Tom Aldridge (the lip-synced to a recording of Peters' voice while
the cast as “like an
acid flashback”, Narrator and The Baker’s father) who she was. Peters took an elevator underneath the stage to
while Sondheim
Aldridge replied, “Your wife” (meaning, of course, change. She then performed “Stay with Me” and,
said, “It’s very
upsetting. I want Cinderella). They later married and now live and with the cast now back onstage, sang “Your Fault”

to hear them teach in Missouri. (which Sondheim said he wrote following Lapine’s
forever.”
Westenberg also mentioned the infamous sketch) and “Last Midnight.”

“pendulous” appendage he wore as The Wolf; he Edmund Lynbeck, who played Cinderella’s

said that the appendage got smaller and smaller father (and was the original Judge Turpin in

after the audience reaction during previews. Crosby Sweeney Todd), couldn’t travel for the event but

performed “On the Steps of the Palace” and instead sent his nephew, who read a tender note.

Westenberg sang “Hello, Little Girl.” Before the ending – “No One Is Alone” and

Ferland spoke of working with the creators on “Children Will Listen” – Sondheim clarified the

Sunday in the Park with George and said that she meaning of the former as, "Every action you take

wasn’t in the musical’s La Jolla run because she was has a reaction and everything you do affects

still in school. She then sang “I Know Things Now”. everything around you.” Sondheim said if he closed

Ben Wright is now a financial consultant, and he his eyes, he couldn’t tell the time difference (from

and Ferland reminisced about being friends as the original production) and said he was delighted

children and working together before Woods. with “How well it still sings.”

Wright said he doesn't act these days, but said, “It’s Lapine finished by saying he saw a bizarre

very special to have been part version of the musical in China, in

of something that stood the Mandarin, renamed Seduction in

test of time.” He sang “Giants the Woods and that The Baker

in the Sky” beautifully. kissed Cinderella!

Peters joined Sondheim The reunion was conceived

and Lapine after the interval. by Eileen Roberts, who first

She knew they needed a witch co-produced it last November

and when Lapine invited her to at the Segerstrom Center for

be in the show, she said, “I’ll do the Arts in Costa Mesa, California. Doug Gifford

it.” Sondheim then intervened Ted Firth was the musical director

saying he remembered seeing and the onstage pianist.

24

The Stephen Sondheim Society

On The Town Review

Jeremy Chapman’s regular cabaret column

Cabaret is such a personal, intimate thing, Darren Bell

a relationship between artist and individual

audience member that has to be established

almost immediately.

The chemistry between artist and

audience differs depending on their and your mood

and your appreciation of what they’re trying to

achieve, so it’s little wonder we all have favourites.

I managed to avoid the recent Michael Feinstein

visit to London because I’ve seen this renowned

proponent of the Great American Songbook on

three occasions now and each time come

away saying to myself: “What was all the fuss

about?”

But I am well aware what he means to many of

you so let’s leave it at being grateful we are not all

the same. It would be a dull old world if we were!

I do have male entertainers I particularly

admire, like Steve Ross and Gregg Edelman, but

generally preference is for the ladies, my heroines of

cabaret Amanda McBroom, Karen Akers, Christine

Andreas and especially Ann Hampton Callaway.

Maybe some of those names are new to you but, So this long-overdue revival of the musical- Ann Hampton
Callaway and Liz
believe me, they know how to work a room, how to comedy revue she put together in 1995 with the Callaway in Sibling
Revelry at the
mix song with anecdote, how to bring you into the exquisite Liz, a major Broadway talent in her own Hippodrome.

evening and make an audience feel special. It is no right, and which travelled so well to London three

coincidence they are all American because, with a years later was manna from musical heaven as far

few exceptions, they rule this unique art form. as I was concerned.

Among those very honourable exceptions we An affectionate (but very sharp) take on the fact

have Maria Friedman, bless her heart, who can that however much sisters love each other, there’s

have an audience eating out of the palm of her always a niggle of jealousy and competition, this

hand, the loveable Janie Dee has her moments was an evening by turns musically breathtaking and

and, more recently, actress Anne Reid has fulfilled joyously hilarious – sophisticated entertainment at

a long-held ambition, fuelled by a friendship with its finest and funniest.

the legendary Barbara Cook, by turning her hand The visual jokes, about Ann’s 15 awards “but

to cabaret in her 70s. they're not nearly as big as my Emmy”, says Liz who

But it’s not for the singing  you go to see Reid, goes round the audience spoof-selling her solo CDs

it's the stories and, as with Friedman, the warmth just to interrupt one of her older sister’s anecdotes,

of an hour or so spent in her delightful company. don’t change, but the old ones are often the best.

Given my American bias, you won't be surprised Ann is the tall one - “5ft 10 and worth the climb” -

to learn that the highlight of my cabaret-going who has followed a jazzier beat since her early

summer was seeing Ann Hampton Callaway and her songwriting, piano-playing days and was last seen

“little” sister Liz reprise Sibling Revelry at the London in London at Ronnie Scott’s, although both played

Hippodrome 17 years after it formed part of that solo shows at the Crazy Coqs last year and hopefully

long-ago Donmar Divas season in which Imelda will do again.

Staunton and Audra McDonald were also featured. Liz took a different path, starting out as a

I have been in love with Ann’s superabundant waitress in the 1981 Sondheim flop Merrily We Roll

talent, and in awe of it too, since those Pizza on Along and starring in musicals such as Cats. She is

the Park days of the early ‘90s. Nobody, not even a versatile singer capable of infusing Stephen

Streisand, has given me more lasting musical Schwartz’s wistful “Meadowlark” with a radiant

pleasure than this richest of vocal instruments with purity and then immediately taking the mickey

its potency, range and pitch-perfection. It is a voice out of the trickiness of Sondheim in the wicked

from another universe. “Another Hundred Lyrics (just flew out of my brain)”.

www.sondheim.org 25

Dan Wooller/AlexandraSilber.squarespace.com Al’s first London cabaret at the Crazy Coqs was
an eye-opener, particularly to someone like me
Alexandra Silber, Her first-half solo of Frank Loesser’s beautiful seeing her for the first time as I missed the trio
the LA-born star “My Heart Is So Full Of You” was a masterclass in of West End musicals she did in quick succession
delivery, while  Ann, who gives so much of herself after graduating from the Royal Conservatoire
who made her in her singing that it’s frightening, almost took the of Scotland ten years ago.
Crazy Coqs debut Hippodrome roof off with everything she did.
Spotted by an agent with a hotline to Andrew
this year. Her powerhouse “Blues in the Night” and “Don’t Lloyd Webber, she got the lucky break any raw
Rain on my Parade” counterpointed the sweetness newcomer needs when the noble lord jump-started
of her sister’s more ladylike offerings. And the pair her career by pitching her straight into his second
of them duetted through a huge medley of version of The Woman In White at the Palace Theatre
requests to bring a memorable evening almost to in 2005.
a close, but not before  the encore of Sondheim’s
“Our Time” earned them a second standing ovation. From there she went on to do London revivals
of Fiddler on the Roof and Carousel, both times
Mega-thanks to producer Sarah Ingram – opposite an Australian who since made a name for
wearing a very different hat to the one she wore himself in Sondheim, as Charley Kringus in Merrily
last year as one of the best Mrs Lovetts there has We Roll Along and in the revue Putting It Together.
ever been in Twickenham Theatre’s Sweeney Todd – That, of course, was Damian Humbley, with whom
for using her friendship with the Callaways to lure she had a four-year love affair. After that
them back. But make it a bit sooner next time! ended, she moved back to the States to regroup,
quickly got a part in Master Class with Tyne
Just as AHC’s soaring multi-octave voice took Daly, and is currently back on Broadway in another
me into a new dimension of cabaret appreciation revival of Fiddler on the Roof, this time in a different
in the 1990s, so another American bursting role to the one she played at the Savoy in 2007.
with talent, Alexandra Silber, might well do the
same 20 years on. Every night of her Crazy Coqs week she had a
different guest helping her out and, as luck would
have it, Humbley was the one the night I was
there. In fact, it was the first time they had sung
together since their split, so to hear them reprise “I
Believe My Heart”, the beautiful song David Zippel
wrote specially for The Woman In White, was quite
emotional and Silber was not the only one who
looked close to tears.

Inevitably, Humbley’s solo was “Franklin
Shepard Inc”, his big song from Merrily.
Sondheim could hardly have made it trickier
to perform if he’d tried but “the Thunder from
Down Under” (as Al referred to him) pulled it
off as splendidly as ever.

But it was Silber’s evening and her choice
and treatment of less-familiar material, including
Jerome Kern’s “The Land Where The Good Songs
Go” and a list song called “Yakko’s World”
mentioning every single country on the map (as
of 1993 when written), made a welcome change
from the cabaret norm.

She plays Maria on the double CD of the San
Francisco Symphony Orchestra’s lush concert
version of West Side Story but it was a man’s song,
“Maria”, she chose for her cabaret act, a typical
challenge she had the confidence to pull off quite
brilliantly.

Yes, Silber is special - don't on any account miss
her when and if she returns.

Another American in town over the summer, but
of a different vintage, was Rosemary George. Some
members will remember her from the Sondheim/
Gershwin workshop called The Singer and the Song
she did at Covent Garden’s Theatre Museum a few
years back.

26

The Stephen Sondheim Society

She adores Sondheim and devoted most of her “Rose’s Turn” – with Dupree as Mama Rose and
second set to the great man’s work in her two- Jones, in matching outfit, her duckling-to-swan
week Leicester Square Theatre residency. daughter Louise. A joyous evening.
Before performing it beautifully herself,
Rosemary recalled that watching Judi Dench sing Finally, to the London Theatre Workshop
“Send In The Clowns” at the National in 1996 was for Edges, a contemporary song cycle about the
the most unforgettable musical theatre experience trials and tribulations of moving into adulthood
of her life. written by Benj Pasek and Justin Paul in their
Michigan college days a decade ago.
As Adjunct Professor of Music at Manhattan
Community College, she is more teacher than Not quite cabaret but the outrageous “In
entertainer in her approach to cabaret. Witty Short” has since become a cabaret showstopper,
anecdotes are not her style but the lady can and there are different versions depending on
certainly sing. Her “I Remember Sky” and “Our who is the rejected half of the uncoupled coupling.
Time” were exemplary. I’ve heard both sexes taking it on but in this Edges
it’s a man’s song and if it’s a new one on you,
What I shall also take away from her evening here’s a flavour of this daring piece of songwriting:
was the piano-playing of fellow New Yorker
accompanist Lloyd Arriola, who gave us some “I wanna punch you in the face
thrilling Gershwin and a small gem from Leonard Rip out your hair
Bernstein called “For Stephen Sondheim”, part of a I want to burn you alive
1988 piano work called “Thirteen Anniversaries”. And if you survive
Was it written to mark the 30th anniversary of West I'll strap you to an electric chair!
Side Story? Or lean out a window a little too far
Don't look both ways and get hit by a car
Cabaret of a very different sort came with the Fall out of a roller-coaster
Welsh brother-and-sister act of Ria Jones and drag Take a warm bath with a plugged-in toaster!
queen Ceri Dupree in a tasty morsel called Miss- In short,
Leading Ladies at the St James Studio, another I hope you die.
favourite haunt of cabaret lovers. Die, die, die, die, die, die, die, die, die, die!
Die, die, die, die!
Ria will be remembered by Sondheim devotees Die, die, die, die, die, die, die!
for A Little Night Music at the Leicester Haymarket in Get dysentery
2001 (she played Petra) and she was also a guest Die die, die, die, die, die!
soloist in Children Will Listen, a 75th birthday Gangrene
celebration for Sondheim at the Theatre Royal, Die, die, die, die die, die!
Drury Lane.
Get beaten and slugged
It’s almost 30 years since, at just 19, she became Molested and mugged
the youngest-ever Evita at the Manchester Opera Wake up and find yourself date-raped and drugged
House and, given the exceptional voice she I hate you, I’m leaving
possesses, it’s a surprise she hasn’t played more Goodbye
West End leads. In short, I’m over you
So die!
In this latest show, an affectionate homage to DIE!”
the grandes dames of Broadway and Hollywood,
her pared-down Piaf in “Je Ne Regrette Rien” and Not quite Sondheim but you must admit it’s
Garland’s haunting “The Man That Got Away” were different!
as good as it gets.

The pair quickly set the tone with two suitably-
sibling songs, “Let Me Entertain You” (which June
and Louise duet in Gypsy) and Irving Berlin’s
“Sisters” before Dupree launched into a wicked
Mae West impersonation.

Making an amazing ten OTT costume changes
(all self-designed), Ceri then takes off Dietrich, Kitt,
Channing – he’s particularly wicked about the Hello
Dolly! star, “the only woman apart from Cherie Blair
with square lips” – and Bette Davis.

Dietrich’s “Falling In Love Again” becomes a
biting “Lifting My Face Again” parody and Davis’s
bitchy put-down of bitter movie rival Joan Crawford
– “the only male in Hollywood she didn't screw was
Lassie” – was a masterpiece of comic timing.

This was sibling revelry at its Swansea best
and the audience stood as one to honour a sublime

www.sondheim.org 27

Review Garden Party 2015

Sondheim Society members were treated to a glorious afternoon
in Windsor at our annual Garden Party, courtesy of David and
Pat Oldcorn and recent graduates of the Royal Academy of Music.
Craig Glenday reports back on one wonderful day.

The Stephen For the fourth year in succession, the day of The Emma Goldman in Jamie Lloyd’s recent electrifying
Sondheim Society Stephen Sondheim Society’s annual Garden Party production of Assassins at the Menier Chocolate
turned out to be a glorious one, despite days of Factory. The hard-working pianists were Trevor
Garden Party, inclement weather on either side and doom- Defford and Stephen Dickenson, both Society
19 July, Windsor; mongering in the morning from the Met Office. As members.
with the three previous years, the company, the
thankfully the music and the food all proved to be delicious. It was Melle who kicked things off with a gutsy
rain held off, performance of “The Miller’s Son” (A Little Night
allowing members It was held on 19 July at its usual venue – the Music). This contrasted nicely with her second
to make full use lovely Thameside home in Windsor of Society choice: “Moments In the Woods” (Into the Woods).
of the Oldcorns’ Treasurer David Oldcorn and his wife Pat. In the A graduate of the Western Australian Academy of
beautiful garden. shadow of the unmissable clock tower, in a garden Performing Arts – and a guest star on the TV soap
that stretches down to the river, some 100 Home & Away and wife of actor/singer Ben Lewis –
All images © David Ovenden members and friends came together from across Melle certainly set the bar high for the rest of the
the country for an afternoon of chat, food, drink performers.
and an informal concert from (mostly) students of
the post-graduate Musical Theatre course at the Next up was someone else known to the
Royal Academy of Music. Thanks to the Oldcorns, Society: Charlotte Vaughan. She was a finalist
the garden was replete with jugs of Buck’s Fizz, at this year’s Student Performer of the Year
boxes of wine and an enormous table of food, and (SSSSPOTY), where she had given her own
for just £20 per member it proved to be an interpretation of “The Miller’s Son”. This time
unbeatable afternoon. she opted for two contrasting pieces: “Loving You”
(Passion) and “The Glamorous Life” (ALNM). The
Taking to the “stage” – a raised paved area at latter was a particular treat for members, being the
the top of the garden – were Charlotte Vaughan, less-often-heard version from Hal Prince’s otherwise
Karoline Gable, Charlie-Jade Jones, Chris McGuigan, disappointing movie from 1977. It comes as no
Matthew Boyd and Tom Elliot Reade, all from RAM. surprise to hear that Charlotte is already proving
Joining them were Georgia Oldman, up-and- herself a force to be reckoned with in the West End,
coming young talent Duncan Shelton, and last, but currently to be seen in The Phantom of the Opera,
certainly not least, Melle Stewart, the Australia-born where she is the first-cover for Carlotta.
performer that many of you would recognise as
Next it was the turn of the boys with Matthew

28

The Stephen Sondheim Society

Boyd serving up two numbers cut from Company. version of “Not a Day Goes By” Our host and MC
The first was one of my favourite Sondheim songs, (Merrily). She was followed by David Oldcorn
“Multitude of Amys”, so it was a pleasure to hear it, Chris McGuigan, who had sat introduces the
and the second the reinstated “Marry Me a Little”. patiently up until this point performers for our
Matthew handled both with aplomb, soaring over without singing a note. Chris will afternoon concert.
the sound of the Oldcorns’ fountain despite the be familiar to some members as
rather outdated microphone! Before taking his seat Jack in the impressive Into the
he was joined by Charlotte for another rarity: “With Woods staged by SEDOS at the
So Little To Be Sure Of” from Anyone Can Whistle. Bridewell in 2014, although this
particular afternoon he opted for
Duncan Shelton proved to be the surprise hit “Now” from ALNM and the
of the afternoon. Despite his youthfulness, this wonderful “Ariadne” from the
teenager – a student of Park House School in Broadway version of The Frogs –
Newbury – gave a tremendously assured yet another song that’s not heard too often. His is a
performance of “Anyone Can Whistle” and hinted most rounded talent and definitely worth the wait.
at the bright future he surely must have ahead of
him in musical theatre. Also heard only in the second half was Karoline
Gable. She gave us a delightful version of “Don’t
“See What it Gets You” (Whistle) was the first Laugh” (Hot Spot, music by Mary Rodgers) followed
number chosen by Mountview Academy’s Georgia by “I Must be Dreaming” from All That Glitters,
Oldman, who most recently was seen alongside Sondheim’s 1949 musical project assigned to him
Rosemary Ashe in Crush, the new musical from by Oscar Hammerstein as part of his songwriting
Maureen Chadwick, writer of Footballers’ Wives and apprenticeship. It’s always a treat to hear a piece of
Bad Girls. Georgia showed us all why she was the Sondheim that’s new to you, so brava Karoline on
worthy winner of the Laurence Olivier Bursary 2013. both of her choices. Talking of rarities, David had
She was followed by Charlie-Jade Jones’ take on persuaded Mr Sondheim to send him the score of
“Sunday in the Park with George”, revisiting the “Rainbows”, from the un-realised 1995 Jim Henson
character of Dot, a role she had played in workshop film version of Into the Woods. This is a beautiful
with Jeremy Sams at RAM earlier in the year. song – done full justice by Chris and Karoline – that
needs to be given a more regular airing. (It can be
Tom Elliot Reade has just finished a month’s run heard on the CD of the recent Broadway revival of
in Romance, Romance at the Landor and was
perhaps the strongest singer of the group. He was Marry Me a Little,
George to Charlie-Jade’s Dot in available from the
the aforementioned workshop Society. Ed.)
and contributed two numbers
from that show to end the first The final solo saw
half of the concert, starting with a Melle return to the
fine version of “Finishing the Hat” stage for a beautiful
before being joined by Charlie- “Somewhere” (West
Jade for “Move On”. It was a truly Side Story) before the
uplifting close to Act 1. company – and the
audience – belted out
Before the second half started “Sunday”, the traditional closing number for the
there was time for dessert, the raffle draw and a few Garden Party concert. As ever, the members gave it
words of thanks. David Ovenden, who this year their best shot, although the graduates were
stepped down from the Chairmanship of the thankfully in full voice and papered over the cracks!
Society, received a silver picture frame in thanks for So, another successful Sunday and another
his contribution, while popular members John successful Garden Party concert. What was
Lithgow and Herman Patava were acknowledged particularly memorable this year was the
for their tireless efforts in promoting the Society presentation of a number of songs that aren’t heard
and keeping the Archive at Kingston University all that often, so I applaud the students and David
updated with all the latest programmes, posters for curating such an interesting programme. Thanks
and memorabilia. too, of course, to Trevor and Stephen, who gamely
provided the piano accompaniment despite the
The second half got under way in style courtesy wind’s best efforts to blow the music off their stand.
of Charlie-Jade’s “What More Do I Need?”, another And a big thank you to Pat Oldcorn and her helpers
rarely heard number, this time from Saturday Night, for keeping us all fed and watered (and wined!)
while Tom returned with the more well-known If you’ve never had the joy of attending the
“Johanna” from Sweeney Todd. A second song from Society Garden Party, I urge you to get down to
Sweeney –”Not While I’m Around” – suited Duncan’s Windsor when the opportunity next arises. It’s a
voice perfectly, and I can think of no better audition delightful day out and the perfect chance to meet
piece should this keen teen ever wish to put himself some fellow Sondheimites, whatever the weather.
forward for the role of Tobias.

Georgia took to the mic next to sing a lovely

www.sondheim.org 29

Feature Leslie Bricusse

“I introduced Sondheim to The Beatles”

Society Chairman Craig Glenday spent an evening at the London
home of songwriter Leslie Bricusse and pressed the Oscar-winning
composer on his dealings with Stephen Sondheim.

Craig Glenday with Leslie Bricusse has led – house, our friendship established, he felt
Leslie Bricusse, a is living! – a remarkable comfortable enough with us to volunteer a private
contemporary of and star-studded life, as preview of his new score. He played and sang the
Sondheim and recounted in his glittering whole thing to just the two of us, and if I didn’t
co-writer of new autobiography, Pure know it already I realised that night what mighty
songs such as Imagination. To coincide things would surely come from him.”
with the launch of the
“Goldfinger”, “The book, I was asked to In a book crammed with name-dropping
Candy Man”, interview Leslie for anecdotes, one of the most A-list of them all
Musical Theatre Review, features Sondheim’s encounter with the Fab Four.
“What Kind of Fool and was duly invited to “Sondheim wanted to meet The Beatles. In a
am I?” And “You the composer-lyricist’s moment of New York madness, I promised Steve
Only Live Twice”, stunning Thameside penthouse overlooking Albert that I would somehow arrange this Great Musical
as well as the Bridge (where he and his beautiful wife Evie live Summit Conference. I went to enormous trouble,
when not encamped in Beverly Hills). Over a glass and after a lot of back-and-forthing, I finally got
musicals Stop The or three of wine, we discussed his prolific and Paul McCartney to undertake to deliver the entire
World I Want to award-winning output, before talk turned – Fab Quartet to the Ad Lib Club, London’s hottest
Get Off and The inevitably – to Stephen Sondheim. Surely a man discotheque, in Leicester Square, at midnight on
Roar of the as well-connected as Bricusse has had dealings a specified Saturday night.
Greasepant, the with Sondheim?
Smell of the “Sondheim? He and I were dear friends when “As midnight struck, with Cinderella-like
I lived in New York,” he explained. “When my show punctuality, the four young cult icons trooped in…
Crowd, and the hit The Roar of the Greasepaint, the Smell of the Crowd and joined us at our booth. They were as impressed
movie musicals opened at the Schubert Theatre, he sent me a to be meeting the mighty Sondheim as he was to
Dr Doolittle and telegram – still my favourite first-night telegram, in be meeting them. John Lennon sat next to Steve,
fact. ‘Dear Leslie, Good luck but I think you should and I remember thinking that I would be unlikely to
Willy Wonka and know that the second and seventh words of your see so much musical talent assembled at one table
the Chocolate title have been interchanged accidentally. Love, ever again.”
Factory. Steve Sondheim.’”
In his book, he recounts how they met. “Evie However, as Bricusse recounts, there was a
and I had got to know him through mutual friends, problem. “The decibel level at the Ad Lib was like
notably a très trendy and popular New York putting your head in the mouth of a bellowing bull
socialite called Didi Ryan. Stop the World had elephant. We sat there, deafened and smiling
opened on Broadway when Steve’s first solo words- stupidly at one another for about five minutes…
and-music score, A Funny Thing Happened on the [Then] John turned to me, grinned and said, ‘Well,
Way to the Forum, had become the big new hit of that’s that, then.’ Everybody shook hands and
the season. We were in competition for Best Score hugged… and The Beatles trooped out, exactly as
at the Tony Awards, and we both lost to Lionel they had trooped in. Steve was left sitting there
Bart’s Oliver! That created a bond of sorts.” denied the in-depth intellectual exchange he
Befriending Sondheim initially proved obviously craved.”
challenging. “He’s a complicated man who was not
easy to get to know,” Bricusse continues. “Evie and Bricusse’s autobiography, Pure
I thought it was something of an achievement that Imagination, is published by Faber
we did, and we became very fond of him.”
One of the perks of knowing Steve appears to Music and out now. It’s a
have been an exclusive preview of his new work, fascinating account of Bricusse’s
Anyone Can Whistle. “One famous evening at his career as a song- and show-writer,
and a must for anyone with an
interest in 20th-century musical

theatre and movie musicals.

30

The Stephen Sondheim Society

Daria Begley’s American Perspective

News and notes from the Society’s US correspondent.

KT Sullivan and Jeff Harnar sing more Sondheim Now,” connected to “More.” With 40 songs in 70 minutes,
Cabaret performers KT Sullivan and Jeff Harnar created a several songs were sung in blocks, abridged and performed
sequel to Our Time, their Sondheim show from last year, as duos and even trios (with Weber). Some of these pairings
entitled Another Hundred People: Sullivan and Harnar Sing made sense, eg Sullivan’s rendition of “The Girls of Summer”
Sondheim-Act II. The duo took the first Sondheim show to coupled with Harnar’s “Sand.” Others didn’t, such as
London’s Crazy Coqs and hopefully, with this much- “Children Will Listen” with “The Ballad of Sweeney Todd.”
improved show, they will return. Again, the venue was the
Laurie Beechman Theater, with staging by Sondra Lee, and This is the only time I’ve heard “Buddy’s Blues” sung by
John Weber as pianist and musical director. a woman, which was refreshing! (Like last year’s show,
there were a lot of songs using gender-switching.) Weber
Weber opened with an instrumental, “Comedy Tonight,” performed “Broadway Baby” just before the encore of
then Sullivan entered with “Barcelona” (a duet with Weber). “How Do I Know,” which was written for Phinney’s Rainbow,
Harnar made his entrance from behind a plush red curtain on in 1948, while Sondheim was at Williams College. The show
the left side of the house, singing a lascivious “I Know Things played on 22 July, 29 July and 12 October.

Liaisons: Re-imagining Sondheim in 2012 and 2013 since the project
from the Piano began four years ago. (Sondheim
Anthony de Mare’s three disc CD piano participated in a Q&A both times.)
compilation of Sondheim songs, Liaisons: He began raising funds on
Re-imagining Sondheim from the Piano, Kickstarter for the recording
was released on 25 September on the after the second concert.
ECM New Series label. The recording
features de Mare playing the 36 pieces In conjunction with the release
he commissioned from friends of the CD (pictured right), de Mare
and acquaintances of various musical performed all 36 piano pieces split up
backgrounds who took a Sondheim into three concerts in New York City:
song and then created an at Birdland on 24 September, The
original composition. Sheen Center on 22 October; he will
then be at Symphony Space on
De Mare has performed it twice -- 19 November, after which he will
at Symphony Space in New York City, take it on tour.

Jazz & Sondheim, Side by Side “Night Waltz” followed by an instrumental “Another Hundred
The 92nd Street Y presented Jazz & Sondheim, Side by Side People.”There was no song list in the program but almost all
as part of its Jazz in July Festival. The evening featured of them had a terrific jamming sound and, this being jazz,
artistic director Bill Charlap, who moderated and played included a lot of improvisation.
piano. His partner and collaborator, arranger Renee Rosnes
was also on piano along with Steve Wilson on alto and Callaway performed “Not While I’m Around” and
soprano sax, Sean Smith on bass and Matt Wilson on drums. “Uptown/Downtown.” She mentioned Company as the first
Ann Hampton Callaway was the solo vocalist and Scott show she had seen and then introduced her younger sister
Dunn was the conductor. Liz, who was in the audience (and who has her own
Sondheim history). Callaway finished with “Send in the
Charlap opened with a piano version of “Comedy Clowns,” which included the added verse. Charlap ended,
Tonight,” then went into a nice smooth jazz rendition of saying, “The genius, the gift to humanity that is Sondheim.”

Sondheim’s school closes kind of orderly discipline that helped counteract the
The New York Times reported that The New York Military chaos of home.” Sondheim also delighted in playing the
second largest theater organ in New York State. The
Academy, where Sondheim spent several grades, closed its school worked on cultivating leadership, accountability
doors on 21 September after 126 years. Located in and character, albeit in military fashion, with students
Cornwall-On-Hudson, NY, the school has been struggling wearing the blue and gray uniforms resembling those at
financially for years and filed for bankruptcy earlier this West Point, six miles to the south, where many graduates
year. Its 113 acres are scheduled to go on the auction block have gone.
at the end of September for a minimum bid of $9.5 million.
Other alumni include Donald Trump, filmmaker Francis
Sondheim responded to The Times, via email, that Ford Coppola and Troy Donahue.
while his parents were divorcing, the school “supplied a

www.sondheim.org 31

54 Below – Sondheim Unplugged – 1992 Leicester association with and
love of Sondheim.
Anyone Can Whistle & Follies Haymarket Theatre Her Amy in
Company at the
Phil Geoffrey Bond hosted another production of Merrily We 2002 Sondheim
Celebration at
special edition of his Sondheim Roll Along) knocked Kennedy Center
remains the funniest
Unplugged series at 54 Below. Anyone everyone out with “The I’ve seen. She told a
funny story about
Can Whistle Follies was performed on Right Girl,” and Sarah working on the song
during rehearsals.
28 June and, similar to his other Rice (the original Her intention was to sing the song
outlandishly, then tone it down.
Sondheim shows, featured a few Johanna in Sweeney Unbeknownst to her, the first time she
sang the song, she noticed ‘penny-less
original cast members from Todd) and Lucy Austin penny-loafers and no socks, seated in
front’ and then looked up and heard
Sondheim musicals. sang “One More Kiss” Sondheim say, “Next time simply sing
the words.” She then sang “Getting
The always affable Bond peppered (nice touch with Rice Married Today” a capella.
She played both Joanna and Mrs.
the evening with fun facts, anecdotes mouthing her younger Lovett in regional productions of
Sweeney Todd, and couldn’t resist
and tidbits. He spoke of how Follies self). singing “There’s No Place Like London”
and “Not While I’m Around.” She did a
started out as a murder mystery, that Lucia Spina performed “There’s a lovely rendition of “Anyone Can
Whistle,” saying there’s a rumor that it’s
librettist James Goldman and Sondheim Parade in Town”, which was particularly Sondheim’s favorite song that he’s
written, but the song reminds her of her
revised their work over the years, and relevant since that Sunday was the day father, an avid whistler.
“Broadway Baby” was her audition
that screenwriter Aaron Sorkin and of the Gay Pride Parade which song upon arriving in New York City,
and she finished with a terrific “Rose’s
director Sam Mendes both tried to celebrated the landmark Supreme Turn. ”Her Next to Normal co-star
Jennifer Damiano made an appearance
adapt it for the screen. Court ruling on same-sex marriage a and sang “Losing My Mind.”

For Whistle, director-book writer few days earlier. Marilyn Maye finished

Arthur Laurents wanted Barbra the evening with “I’m Still Here,”

Streisand to play Fay Apple but forgetting some of the lyrics but

Sondheim wasn’t sure, saying she’s ‘a leaving the audience in stitches

bit nasally.’ Streisand went on to Funny singing “had heebie-jeebies for

Girl with Lee Remick assuming the role. Beebe’s Bathysphere” then quipping:

Bond mentioned the travails of Whistle’s “I’ll explain it to you later”.

pre-Broadway tryout, which included Previous special editions were

injuries and deaths. Assassins in the Park with George, A Little

With Joe Goodrich as the pianist, Night Music for Company and Into

performed highlights included Terri Sweeney Todd’s Woods, the latter

Ralston (an original cast member of performed again for the third year

Company and A Little Night Music) running on Halloween.

opening with a terrific “Broadway Also at 54 Below was Alice Ripley’s

Baby,” Dee Hoty (who was Phyllis in the All Sondheim show for three

1998 Paper Mill Playhouse version of performances, ending on 23

Follies) performed “Could I Leave You?” September. The Tony Award winning

Evan Pappas (Charley Kringas in the Next to Normal star spoke of her

“Marry Me a Little” and Harry Nilsson and gave it to her as a Christmas present, hence the
Terry Teachout, theatre and music critic of the Wall Street commission.
Journal, wrote an article on 30 July about the road
Sondheim didn’t take when theatre music in the ’60s Teachout said that the Nilsson version, arranged by
tended towards pop music. Teachout didn’t explain George Tipton, Nilsson’s long-time collaborator, is “an
anything new about theater music moving away from pop exquisitely crafted, gorgeously sung piece of late-’60s pop
music during that time, nor Sondheim’s view of it, but the whose multitrack vocals and richly layered yet clean-
basis of this ‘what if’ article is about how Sondheim might textured orchestral accompaniment are strikingly
have taken Broadway in a different direction if he had. reminiscent of the Beatles’ Abbey Road, which had come
out earlier that year.”
Sondheim has stated that not going in that direction
freed him to write the musicals he wanted. Teachout He also went on to say that the song sounds totally
hypothetically begs to differ. He cites a 1969 recording of different from the rest of the score. (Really!) The Nilsson
“Marry Me A Little” which Sondheim commissioned singer- arrangement may not sound like Company, but Jonathan
songwriter Harry Nilsson to record. The song was originally Tunick’s arrangement does. The song was never released
written for Bobby’s closing number in Company but it was and was heard only through bootleg copies until the 2013
replaced by “Being Alive” once Sondheim realized that it release of Harry Nilsson: The RCA Albums Collection.
wouldn’t work. It’s now been re-instated to close out the
first act of the show. Teachout concluded by saying that Company “now has
a definite period-piece flavor, while “Marry Me a Little” still
Initially incomplete, Company director Hal Prince’s wife, sounds as fresh as it did the day it was taped.”The song is
Judy, loved the song so much that, Sondheim finished it on iTunes, but you can listen to it on YouTube at:
https://www.youtube.com/watch?v=A5CWyZhlheM

32

The Stephen Sondheim Society

Sweeney Todd – but not as we know it! Châtelet and the Houston Grand Opera, and is staged by

The Landless Theatre Company reprised its production of Lee Blakeley. Blakeley originally premiered the production

Sweeney Todd Prog Metal Version at Atlas Performing Arts at the Châtelet in 2011, which many members of the

Center in Washington, D.C. from 9 July to 8 August, 2015. Stephen Sondheim Society attended and also staged it in

Returning to their roles were Andrew Lloyd Baughman in the Houston last spring.

title role and Nina Osegueda as Mrs. Lovett. Melissa SFO’s General Director David Gockley, who previously

Baughman and Charles W. Johnson repeated their duties as held the same position at the Houston Grand Opera during

director and musical director, respectively. the 1980s, invited Hal Prince to stage his original production

“We were very lucky not only that Sondheim gave us his in 1984, becoming the first major opera company to stage

permission, but that he was willing to provide feedback and the musical. Brian Mulligan played the title role and

advice to our team of arrangers, The Fleet Street Collective,” Stephanie Blythe played his partner in crime. Principal Guest

said Baughman, who is married to her leading man: “We’ve Conductor Patrick Summers led the San Francisco Orchestra

had a chance to work out the bugs in the arrangement and and Chorus. The production received overwhelmingly

production, and now we’re ready to unleash the production positive notices.

in the larger Atlas Theatre.” The original production was

presented at D.C.’s Warehouse Theatre in August 2014. And yet a third Sweeney

Lastly, the Live from Lincoln Center broadcast of Sweeney

Sweeney Todd in San Francisco via Paris Todd: The Demon Barber of Fleet Street won the Emmy Award

The San Francisco Opera premiered its more classical for Outstanding Special Class Program. The New York

version of the Sondheim-Hugh Wheeler landmark musical Philharmonic’s production starred Bryn Terfel and Emma

Sweeney Todd: The Demon Barber of Fleet Street, at the War Thompson, and was directed by Lonny Price. The three

Memorial Opera House on 12 September for seven reprised their roles for the English National Opera last March

performances. This is a co-production with Paris' Théâtre du at the Coliseum in London.

Hamilton starred in tick, tick … BOOM! which lines don’t land the way they should.
The New York Times Style Magazine's had as many references to Sondheim Rhyme does something to the
Summer Entertainment issue of 19 as Miranda’s 2008 Tony Award rap listener’s perception that is very
July featured a cover story on the speech for In the Heights. important, and Lin-Manuel
Broadway musical Hamilton, written recognizes that, which gives the
and starring Lin-Manuel Miranda. The Sondheim was interviewed for the Hamilton score a great deal more heft
exuberant hip-hop musical about the article: “When I first heard Lin- than it might otherwise have. Most
immigrant Founding Father who Manuel’s songs, I immediately lyrics are by their very nature banal
settled in New York has been seen by thought of ‘‘Rock Island,’’ the — it’s the way they’re expressed that
the President and First Lady, and opening number of The Music Man. makes them soar.
written about by political pundits and It’s one of the most brilliant numbers
theater aficionados. ever written, and the first time “Hamilton is a breakthrough, but it
anybody had attempted to make doesn’t exactly introduce a new era.
After its critical and financial music out of speech in the American Nothing introduces an era. What it
success at the Public Theater last theater. It doesn’t have the attitude does is empower people to think
winter, the show moved uptown to of rap and nobody thinks of it as rap, differently. There’s always got to be
the Great White Way, and quickly but the technique is rap. an innovator, somebody who
became the hottest ticket on experiments first with new forms. The
Broadway - deservedly so. Sondheim “At some point, Lin-Manuel started minute something is a success,
is both a mentor and inspiration to telling me about Hamilton, which, everybody imitates it. It’s what
Miranda. The two worked together back then, was called The Hamilton happened with Oklahoma!
on the 2009 bilingual revival of West Mixtape. He sent me lyrics printed Everybody immediately started to
Side Story, with Miranda translating out, and recordings of the songs. This write bad western musicals.
some of Sondheim’s lyrics into raised obvious red flags. I worried
Spanish. (Sondheim was pleased with that an evening of rap might get “Hair also had that effect. But
Miranda’s translation, and, as we monotonous; I thought the rhythm eventually people stop imitating and
know, not pleased with his own might become relentless. But the the form matures. Hair allowed
‘purple’ lyrics; he once commented wonderful thing about Lin-Manuel’s young writers to say, ‘‘Hey, let’s use
that Miranda should’ve translated use of rap is that he’s got one foot in rock as a way of telling a story.’’ Now
more of the songs!) the past. they’ll say, “Let’s use rap as a way of
telling a story.’’ So we’ll certainly see
Miranda played Charley Kringas in “He knows theater. He respects more rap musicals. The next thing
James Lapine’s Encores! production of and understands the value of good we’ll get is Lincoln set to rap. If you
Merrily We Roll Along in 2012. Last rhyming, without which the lines think I’m kidding, talk to me in a
year, also for Encores!, Miranda tend to flatten out. Jokes don’t land year.”
the way they should. Even emotional

www.sondheim.org 33

Prince of Broadway (musical director).The designers are Beowulf Boritt (sets),
Rehearsals started on 3 September for Prince of Broadway. William Ivey Long (costumes), Sonoyo Nishikawa (lighting)
The on again-off again Hal Prince musical had its world and Koichi Yamamoto (sound).
premiere on 23 October at the Theater Orb in Tokyo, Japan,
and plays through 22 November. It will then play at the The show was first announced as a fall 2012 opening on
Umeda Arts Theatre, in Osaka, Japan from 28 November to Broadway, and then postponed to the fall of 2013. Funding
10 December, 2015. (or lack of) for the $10 million musical cancelled the
production's Broadway arrival. The New York Post reported in
Shuler Hensley, Ramin Karimloo, Nancy Opel, David Pittu, 2013 that Japanese producers were now financing the revue.
Emily Skinner and Tony Yazbeck lead the cast. The creative
team, starting with Hal Prince as co-director, includes Susan Prince, via hologram, will narrate the musical, which will
Stroman (co-director and choreographer), David Thompson feature songs from the many shows that have earned Prince
(book), Jason Robert Brown (orchestrator) and Fred Lassen a record 21 Tony Awards.

Another Award for Sondheim considered one the nation’s most host Scott Simon. Also honored was
Sondheim received the Carl prestigious literary prizes. Sondheim Eric Charles May, recipient of the 21st
Sandburg Literary Award from the was due to attend the ceremony at the Century Award, which salutes
Chicago Public Library Foundation on Forum on the Campus of the University emerging authors with ties to
21 October. The award is presented of Illinois at Chicago followed by a Chicago.
annually to an acclaimed writer and is conversation with National Public Radio

West Side Story on screen Story in a co-production with the Film Society of Lincoln
Towards the end of the summer, as part of Lincoln Center’s Center. Though obviously not part of the Met’s season, it was
Summer HD (High Definition) Festival, the Metropolitan noted that the musical was shot on the grounds of Lincoln
Opera arranges screenings of its filmed productions on the Center before the arts complex was built. (Filming was really
plaza. On 28 August the program opened with West Side a few blocks north of Lincoln Center on 68th street.)

Remembering Dean Jones

Before Company, Jones had of Company: “It was a clever, bright
appeared on Broadway in There was a show on the surface, but its underlying
Little Girl with Jane Fonda and Under message declared that marriage was, at
the Yum-Yum Tree (with Sandra Church, best, a vapid compromise, insoluble
the original Louise in Gypsy), reprising and finally destructive.” In 1993 Jones
this role in the film version. His final appeared for two performances in a
appearance on Broadway was in Into concert version of the musical with the
the Light which ran for six performances original cast at the Vivian Beaumont
in 1986. He was also in the national tour Theater in Lincoln Center.
of Hal Prince’s version of Show Boat,
playing Cap’n Andy. Jones is survived by his wife, writer
Lory Basham Jones, and three children.
Despite a successful opening, Jones
Dean Jones, the original Bobby in left Company in May 1970, one month
Company, died on 1 September. He into the run, having his own marital and
was 84 and suffered from Parkinson’s emotional problems. He credited being
disease. a born-again Christian with helping him
overcome his depression. Larry Kert
Jones was discovered by the replaced Jones and received a Tony
songwriters Vernon Duke and Frank Award nomination for his performance.
Loesser, who recommended him to Subsequently Kert came with the
MGM chief Dore Schary who then production to London.
signed him to a studio contract. Jones
appeared in several films but was Jones is featured on the original cast
known primarily for his work in the recording and was filmed singing
Disney films That Darn Cat! in 1965, “Being Alive” in D.A. Pennebaker’s
The Love Bug in 1969 and The Shaggy documentary Company: Original Cast
D.A. in 1976. Album (pictured right).

In his 1982 autobiography, he wrote

34

The Stephen Sondheim Society

God, That’s Difficult!

Last issue we invited readers to transform the following SCENE I – Mrs Lovett's pie shop in Victorian London;
extract from Sweeney Todd’s Act 2 opener from a stream it is Saturday night
of consciousness into logical and grammatical sentences. Toby has just served up a plateful of hot pies to three hungry
customers - a large, bearded man, George, carrying a battered
God that’s good that is de have you valise, accompanied by two ladies of the night. Greedily, the
Licious ever tasted smell such man grabs the nearest pie and takes a huge bite. Gravy erupts
all over his beard, collar and shirt.

O my God what perfect more that’s George
Pies such flavour Good God!…
God, that’s good!!!
He wipes his mouth on the sleeve of his jacket and turns to
We had a number of entries and, not surprisingly, given that it one of his companions
consists of only 25 words, many of these were remarkably …Have you ever tasted such pies?
similar. Quite a few found problems with the text being a He pops a tiny bit of crust into her gaping, toothless, mouth
word too many or too short for their needs, leading to an
awkward line. Woman 1
O, that's good!
But a winner had to be found and we’re pleased to
announce that this is Dominic Barradell with: Savouring the taste for a moment
…God, that's perfect!
What is that smell?
The second woman, anxious to get in on the act, waves her
half-eaten pie in the air

God, that's good! Woman 2
Such flavour! That's more delicious!

God, that's good! The man snatches the pie from her and sniffs it in a sort-of
cannibalistic way
Have you ever tasted such delicious pies?
George
O my! My God! What is that smell?…

God, that's perfect! He bites through the crust as both women look on horrified
…such flavour!
More!
Mayhem ensues as the women fight over the one remaining
We’re also awarding a special prize to member Alan Poulton. pie. George takes out his brushes and easel from the valise
While obviously not eligible for the competition itself – it and begins to paint this scene of destrution. The scene
doesn’t fulfil its condition – it’s so ingenious that we feel that changes from 19th century England to 1970s America
it deserves a prize for extreme cleverness and we hope that
you’ll enjoy reading it! SCENE II – "Aunt Nellie's Diner" somewhere in New York
City; it is Sunday lunchtime
It takes the form of three linked Scenes, each containing Two lonely women are sharing a platter of meat pies and a
just the 25 words of the stanza in question, and stars three Waldorf salad - the 'slightly older' woman is still wearing a hat
characters, a man and two women.

Woman 1
Gesticulating with her fork

Have you ever tasted such delicious pies?

Woman 2
Nodding in agreement

Such flavour!

Woman 1
Looking down, nostrils flaring

That smell!

www.sondheim.org 35

A handsome Spanish waiter, Jorge, passes their table with yet He spies Grandmother and Little Red Riding Hood sitting in
another platter of aromatic meat pies the garden: they are eating a plateful of meat pies which
Little Red Riding Hood has stolen from the Baker's shop – he
Woman 2 creeps a little nearer to hear their conversation
Looking up, wide-eyed
Grandmother
O!… O, that's good
Pointing
Little Red Riding Hood
THAT'S good!........ Have you ever tasted such pies?

Jorge Wolf
enquiring politely to Woman 1 Salivating

More? Delicious!

Much to her companion’s annoyance, Woman 1 ignores both Grandmother
the fresh platter and the fast-disappearing Spaniard – she has Such flavour
now become totally transfixed by the framed portrait of a
beaming Stephen Sondheim looking down on her Little Red Riding Hood
benevolently from the wall of the diner. Perfect!

Woman 1 She gets up and enters the cottage, soon re-emerging with
My God! another plateful of hot pies; however, by this time the Wolf
has already devoured most of the remaining pies (and
Woman 2 Grandmother) in one gulp and is now disguised as “Grannie”
Perplexed, and in mid-mouthful

What?

Woman 1 Little Red Riding Hood
Jabbing her finger towards the wall of the diner Offering the plate to "Grannie"

That’s…! More?
She finds she can hardly get the word out
Wolf
”God!” Snatching one and eating it noisily

Woman 2 That's good!
Finishing her pie
Little Red Riding Hood looks at him strangely. Realising that
That’s good. he may have been “rumbled” by the little girl, the Wolf gets
up and walks quickly towards the cottage, closing the door
Woman 1 behind him. Uneasily, Little Red Riding Hood looks through
“God”… is… the open window - the Wolf is no longer there: only a
hooded figure in white robes sat in the Director's chair
She searches desperately for the right words gazing longingly reading through a Disney film script. Suddenly, the figure
at the picture. In the meantime Woman 2 has put her plate looks up at her revealing… the face of…)
aside and is busily wiping away rivulets of gravy from her
mouth and chin, just as Jorge arrives back at her table - she's Woman 1
suddenly swept up in his muscular embrace and her now- Screaming
flattened hat falls to the floor.
MY GOD!
Woman 2 Realisation
In ecstasy
"GOD"!?
… Perfect!

SCENE III – Grandmother's house in a glade deep in the Awoken from her nightmarish day-dream she is back in
forest; it is dusk “Aunt Nellie’s Diner” and surrounded by several people in
In the final scene, Woman 1 day-dreams about meeting “God”. white coats. She is carried off to a waiting ambulance still
She imagines she is taking part in a performance of Into the clutching the (now-broken) framed portrait of Stephen
Woods directed by Stephen Sondheim – her “slightly older” Sondheim. Looking into the eyes of one of the doctors she
companion, Woman 2, is playing the part of the Grandmother, points to his picture.
Jorge is the Wolf and she, Little Red Riding Hood. The Wolf enters,
sniffing the air Woman 1
That's "God"!
Wolf
What is that smell? [The End]

36

The Stephen Sondheim Society

UK SHOW CALENDAR

This information is kindly supplied by Josef Weinberger Ltd, 12–14 Mortimer Street, London W1T 3JJ Tel: 020 7580 2827

UK PROFESSIONAL Kings Ely, Ely, Cambs, Ormiston Denes Academy, Chelmsford Young
PRODUCTIONS 9–12 December 2015 Lowestoft, 23–25 February Generation, The Cramphorn
2016 Theatre, Chelmsford, 11-16
Into The Woods Liverpool University April 2016
Manchester Royal Exchange, Student Theatre, Stanley Blue School, Wells,
4 December 2015 - Theatre, Liverpool, 24–26 February 2016 Leek All Saints’ Operatic
16 January 2016 10–12 December 2015 Society, St Edwards CE
Croft House Theatre Academy, Leek, 13-16 April
Into The Woods Golborne High School, Company, Lyceum theatre, 2016
Opera North/West Yorkshire Arts Theatre, Golborne, Sheffield, 1–5 March 2016
Playhouse, West Yorkshire Warrington, Newtown Musical Theatre
Playhouse 2-25 June 2016 14–17 December 2015 Alloa Musical Players, Town Company, The Hafren,
Hall, Alloa, 2–5 March 2016 Newtown, 14-16 April 2016
Putting It Together St Katherine’s School,
Blunt Fringe Productions, Pill, North Somerset, Truro High School For Girls, Wrong Story Theatre, QEII
Lyric Theatre, Belfast 9-19 15–17 December 2015 Falmouth Poly, Falmouth, Theatre, Winchester, 15-16
December 2015 Cornwall, 4–5 March 2016 April 2016
Ivy Arts Youth Theatre,
Road Show Olympus School, Stoke Central Musical Theatre Key Theatre Academy, The
Union Theatre, London SE1 Gifford, Bristol Company, St Benedict Edge Arts Centre, Much
3 February -5 March 2016 20–23 January 2016 Catholic Voluntary Wenlock, Shropshire, 16-17
Academy, Derby, April 2016
UK AMATEUR Queen Elizabeth’s Academy, 6–13 March 2016
PRODUCTIONS Crediton, 2–6 February 2016 Merrily We Roll Along
Assassins Whitchurch High School, Arundel Players, Priory
Mad Hatter Productions, Bede’s School, Devonshire Whitchurch, Cardiff, Playhouse, Arundel,
Headgate Theatre, Park Theatre, Eastbourne 7–12 March 2016 25-30 January 2016
Colchester, 24–27 February 3–6 February 2016
2016 Ysgol Gyfun Gymraeg Queen’s Gate School,
Trinity Catholic School, Plasmawr, Cardiff, Jerwood Vanburgh Theatre,
Company Aspley, Nottingham, 7–10 March 2016 RADA, London WC1,
SUSU Showstoppers, 9–11 February 2016 25–26 February 2016
The Annex Theatre, Clyst Vale Community
Southampton, Trent College, Long Eaton, College, Barnfield Theatre, TEPOS, Bob Hope Theatre,
3–6 February 2016 Nottingham 9–11 February Exeter, 10–12 March 2016 Eltham, 16–19 March 2016
2016
South Manchester A.O.S., Telegraph Hill Community Side By Side By Sondheim
Studio Theatre, Royal Bristol Cathedral Festival, St Catherine’s South Staffordshire College,
Northern College of Music, Choir School, Bristol, Church, London SE14, Lichfield Garrick Theatre,
Manchester, 3 April 2016 16–19 February 2016 12–13 March 2016 Lichfield, 27-30 April 2016

Brit School Ltd, The Brit Wycombe Swan Youth Hyde Musical Society, Sweeney Todd
Theatre, Croydon, 4-6 April Theatre, Old Town Hall, High Festival Theatre, Hyde, Reigate Grammar School,
2016 Wycombe, 19–21 February 15–19 March 2016 Reigate, Surrey,
2016 9–12 December 2015
Into The Woods, Highdown School, & Sixth
Royal Welsh College of Tynemouth Academy Form Centre, Reading, Chelmsford Theatre
Music & Drama, Cardiff Operatic Society Ltd, 15–17 March 2016 Workshop, The Old Court
4–12 December 2015 The Playhouse, Whitley Bay, Theatre, Chelmsford,
23–27 February 2016 Westcliff High School for 9–19 December 2015
St Robert of Newminster Girls, Westcliff on Sea, 16-19
Catholic School, Lancaster Footlights Club, March 2016 South Hill Park Arts Centre,
Washington, Tyne and Wear, Grand Theatre, Lancaster, Bracknell, Berks,
8–11 December 2015 23–27 February 2016 Odyssey Theatrical 9–13 February 2016
Productions, Banbury
Academy, Banbury, 7-9 April
2016

www.sondheim.org 37

Swansea University Five Star Entertainment, The Huish Episcopi Academy, Music Theatre Bristol,
Performing Arts Society, Benn Hall, Rugby, 14-16 Langport, Somerset, Winston Theatre, Student’s
Talesin Arts Centre, Swansea April 2016 9–12 January 2016 Union, Bristol University,
Univeristy, 12–13 February 24–27 February 2016
2016 Sweeney Todd – Hemel Hempstead School,
School Edition Hemel Hempstead, Guildford County School,
West Bridgford Operatic St Gregory’s School, Bath, 27–30 January 2016 Guildford, 24–26 February
Society, Nottingham Arts 10–12 December 2015 2016
Theatre, Nottingham, Worthing College, Worthing,
1–5 March 2016 Robertsbridge Community 27–28 January 2016 Penglais School,
College, Robertsbridge, Aberystwyth, 25–27
Trinity Amateur Operatic Sussex, 10–12 December Okehampton College, February 2016
Society, Daneside Theatre, 2015 Okehampton, 1–5 February
Congleton, 1--5 March 2016 2016 Rare Productions -
Brighton & Hove High Dunstable, Grove Theatre,
Tyne Theatre & Opera House School, Brighton, Romsey School, Romsey, Dunstable, 25–27 February
Preservation Trust, Tyne 10–11 December 2015 Hants, 2–5 February 2016 2016
Theatre & Opera House,
Newcastle Upon Tyne, Space Dance Studio, Sidmouth College Youth West Buckland School,
1–58 March 2016 Freedom Centre, Hull, Theatres, Manor Pavilion Landmark theatre,
24 January 2016 Theatre, Sidmouth, Ilfracombe, 25–27 February
University of Plymouth 3–6 February 2016 2016
Musical Theatre Group, The Richard Huish College,
House, Plymouth University, The Brehouse, Taunton, St Benedict’s School, London Ysgol John Bright, Venue
Plymouth 9–12 March 2016 Somerset, 3–5 February
2016 W5, 4–6 February 2016 Cymru, Llandudno,
Rotherham Teachers’
Student Academy, Civic Leighton Park School, 3–4 March 2016
Theatre, Rotherham, Reading, 9–12 February
15–19 March 2016 2016 Matthew Arnold School,

University of Bristol Operatic Preston Park Academy Trust, Oxford, 9–11 Feburary 2016 Prestatyn High School,
Society, Winston Theatre, Yeovil, 24-25 February 2016
Students’ Union, Bristol, Prestatyn, 8–11 March 2016
16–19 March 2016 Whitgift School, South
Croydon, 2-5 March 2016 Castle School, Taunton,
Northern Academy of
Performing Arts, Hull Truck Bromsgrove School, Artrix, 9–11 February 2016 Basingstoke A.O.S., The
Theatre, Hull, 30 March-1 Bromsgrove, 8-10 March
April 2016 2016 Haymarket Theatre,

Aberystwyth Showtime Hornsea School, Hornsea, Crash Bang Wallop Youth Basingstoke, 8–12 March
Singers, Castle Theatre, East Yorks, 21-24 March
Aberystwyth University, 6-9 2016 Theatre, The Forum, 2016
April 2016
West Side Story Northallerton,
Vivo D’Arte, Frogmore Paper Chorlton High School,
Mill, Hemel Hempstead, 6-9 Chorlton, 8-10 December 10–13 February 2016 Rare Productions - St Albans,
April 2016 2015
Alban Arena, St Albans,
Dartford A.O. & D.S., Queen Elizabeth High
Heathfields Hall, Dartford, School, Hexham, Churchill Academy & Sixth 10–12 March 2016
6-9 April 2016 9-12 December 2015
Form, The Playhouse
New Wolsey Theatre, New Brentwood School,
Wolsey Studio, Ipswich, 12- Brentwood, 9–12 December Theatre, Weston Super Mare, Queen Elizabeth Grammar
23 April 2016 2015
10 February–1 March 2016 School, Penrith,

15–19 March 2016

Craven College, Mart

Theatre, Skipton, Netherhall Learning Campus

12–13 February 2016 High School, Huddersfield,

15 March 2016

That’s Entertainment,

Haslingden Primary School, Scarborough Sixth Form

Haslingden, Lancs, College, Scarborough,

17–20 February 2016 16–17 March 2016

Bridgend Youth Theatre, Wimbledon College, London
Grand Pavilion, Porthcawl, SW19, 16–18 March 2016
18–19 February 2016
St Mary’s College, Hull,
Paisley Musical & Operatic 16–19 March 2016
Society, King’s Theatre,
Glasgow, 23–27 February Woodbridge High School,
2016 Woodford Green,
16–18 March 2016

38

The Stephen Sondheim Society

Promotional apron,

Original Broadway Cast Album, RCA Records, 1979

One of the more inventive souvenirs in the Archive is this blood-stained apron. It was created
by RCA Records to promote the launch of the original Broadway cast album of Sweeney Todd and

used Frank “Fraver” Verlizzo’s woodcut-inspired artwork from the original poster. Initially
intended as a promotional item to be given away in record stores, it proved so popular that

it was eventually sold to the public. Modelled here by Society member Rebecca Ridout.